Crowell Melodies For Sight Singing.pdf
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c Copyright °2004 Benjamin Crowell All rights reserved.
rev. October 16, 2004 Permission is granted to copy, distribute and/or modify this document under the terms of the Creative Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s web site, www.lightandmatter.com/sight/sight.html, provides the book for downloading free of charge, and also gives further details about the copyrights of the individual melodies.
Brief Contents
I
Rhythm
13
I-1 Whole, Half, and Quarter Notes
13
I-2 3/4 Time, and Dotted Half-Notes I-3 Eighth Notes
14
I-4 Dotted Quarter Notes I-5 Sixteenth Notes
I-7 Compound Time
I-9 Triplets
II
2
14
15
I-6 Dotted Eighth Notes
I-8 Syncopation
14
15
16
16
16
Major Keys
17
II-1
Introduction to Solfeggio
17
II-2
Melodies Containing Only Steps
II-3
Leaps to ‘Do’
II-4
Leaps Back to Remembered Notes
25
II-5
Easy Leaps Within the Tonic Triad
27
II-6
The Leap of a Fifth Within the Tonic Triad
II-7
Leaps of a Sixth Within the Tonic Triad
II-8
Leaps Within the Dominant
II-9
Wider Leaps Within the Dominant
19
25
35 41
33
31
III
Minor Keys
51
III-1
Solfeggio in the Minor Mode
III-2
Steps
III-3
Leaps Within the Tonic Triad
III-4
Leaps Within the Dominant
IV
51
53 56 59
Other Diatonic Materials
67
IV-1
Leaps Between the Tonic and Dominant
IV-2
Leaps Within the Subdominant, Major Keys
IV-3
Wide Leaps Within the Subdominant
IV-4
Leaps Within the Subdominant, Minor Keys
IV-5
Leaps of a Seventh
IV-6
Other Perfect Fourths and Fifths
IV-7
The Diminished Seventh Chord, and the Harmonic Minor Scale
V
67 69
81 83
86 91
Nondiatonic Materials
103
V-1 Secondary Dominants and Chromatic Passing Tones V-2 Blue Notes
103
116
V-3 Relative Minor and Major
VI
101
The C Clef
118
121
3
Contents Syncopation . . . . . . . . . .16 I Rhythm . . . . . . . . .13 I-8 25 Joplin, rhythm of The Entertainer, 2/4 . . 16 I-1 Whole, Half, and Quarter Notes . . . . . . . . . . . . . . . .13 1 2 3 4 5
rhythm rhythm rhythm rhythm rhythm
of of of of of
Twinkle Twinkle, Little Star, 4/4 . Little Brown Jug, 4/4 . . . . . Bingo, 4/4 . . . . . . . . . . Rain, Rain, Go Away, 4/4 . . . . O Come, All Ye Faithful, 4/4 . .
13 13 13 13 13
I-2 3/4 Time, and Dotted HalfNotes . . . . . . . . . . . . . . . .14 6 rhythm of We Three Kings, 3/4. . . . . . 14 7 rhythm of Take Me Out to the Ball Game, 3/414
I-3 Eighth Notes . . . . . . . . .14 8 rhythm of O Little Town of Bethlehem, 4/4 . 9 rhythm of We Wish You a Merry Christmas, 3/4 . . . . . . . . . . . . . . . . . . 10 rhythm of This Old Man, 4/4 . . . . . . 11 rhythm of Hush Little Baby, 4/4 . . . . .
14 14 14 14
I-4 Dotted Quarter Notes . . . .14 12 13 14 15 16
rhythm rhythm rhythm rhythm rhythm
of of of of of
Jingle Bells, 4/4 . . . . Jimmy Crack Corn, 4/4 . Away in a Manger, 3/4 . Rockabye Baby, 3/4 . . Home On the Range, 3/4
. . . . .
. . . . .
. . . . .
14 14 15 15 15
I-5 Sixteenth Notes. . . . . . . .15 17 Tchaikovsky, rhythm of trepak from The Nutcracker, 2/4 . . . . . . . . . . . . . 15
I-6 Dotted Eighth Notes . . . . .15 18 rhythm of Alouette, 4/4 . . . . . . . . 15 19 Tchaikovsky, rhythm of waltz of the flowers from The Nutcracker, 3/4 . . . . . . . . . 15 20 rhythm of I’ve Been Working on the Railroad, 4/4 . . . . . . . . . . . . . . . 15
I-7 Compound Time . . . . . . .16 21 rhythm Bush, 6/8 22 rhythm 23 rhythm 24 rhythm
4
of . of of of
Here We Go Round the Mulberry . . . . . . . . . . . . . . The Itsy-Bitsy Spider, 6/8 . . . Pop Goes the Weasel, 6/8 . . . Row, Row, Row Your Boat, 12/8
16 16 16 16
I-9 Triplets. . . . . . . . . . . . .16 26 Tchaikovsky, rhythm of march from The Nutcracker, 4/4 . . . . . . . . . . . . . 16
II Major Keys. . . . .17 II-1 Introduction to Solfeggio . .17 II-2 Melodies Containing Only Steps . . . . . . . . . . . . . . . .19 27 C, 4/4 . . . . . . . . . . . . . . . 28 C, 4/4 . . . . . . . . . . . . . . . 29 C, 3/4 . . . . . . . . . . . . . . . 30 Beethoven, Ode to Joy, C, 4/4 . . . . . 31 G, 3/4 . . . . . . . . . . . . . . . 32 G, 3/4 . . . . . . . . . . . . . . . 33 carol (Bohemia), D, 4/4 . . . . . . . . 34 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’, A, 4/4 . . . . . . . . . 35 Latour, The Beautiful Angel, E, 6/8 . . . 36 Lewis, B, 3/4 . . . . . . . . . . . . 37 B[, 4/4 . . . . . . . . . . . . . . . 38 Lewis, B[, 4/4 . . . . . . . . . . . . 39 E[, 3/4 . . . . . . . . . . . . . . . 40 A[, 4/4 . . . . . . . . . . . . . . . 41 D[, 4/4 . . . . . . . . . . . . . . . 42 G[, 4/4 . . . . . . . . . . . . . . . 43 G, 6/8 . . . . . . . . . . . . . . . 44 C, 4/4, 1 . . . . . . . . . . . . . . 45 Emerson, Whither Through the Meadow?, C, 2/4, 1. . . . . . . . . . . . . . . . 46 C, 3/4 . . . . . . . . . . . . . . . 47 G, 4/4 . . . . . . . . . . . . . . . 48 Lewis, C, 4/4 . . . . . . . . . . . . 49 Lewis, C, 4/4 . . . . . . . . . . . . 50 Lewis, C, 6/8 . . . . . . . . . . . . 51 Lewis, B[, 4/4 . . . . . . . . . . . .
19 19 19 19 19 19 20 20 20 20 20 20 20 21 21 21 21 21 21 21 22 22 22 23 24
II-3 Leaps to ‘Do’ . . . . . . . .25 52 G, 3/4 . . . . . . . . . . . . . . . 25 53 F, 3/4 . . . . . . . . . . . . . . . 25
II-4 Leaps Back to Remembered Notes . . . . . . . . . . . . . . . .25
II-7 Leaps of a Sixth Within the Tonic Triad. . . . . . . . . . . . .33
54 C, 4/4 . . . . . . . . . . . . . . . 55 Bach, Chorale, ‘Seelenbr¨autigam, Jesu, Gottes Lamm’, A, 4/4 . . . . . . . . . . 56 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’, A, 4/4. . . . . . . . . . . . . . . . . 57 G, 4/4 . . . . . . . . . . . . . . . 58 folk song, C, 3/4 . . . . . . . . . . .
84 As-Tu Vu la Casquette? (France), G, 2/4 . 85 Praise, Member (South Carolina), G, 2/4 . 86 Froebel, Beckoning the Chickens, F, 2/4. . 87 folk song, G, 2/4 . . . . . . . . . . . 88 Poor Rosy (South Carolina), G, 2/4 . . . 89 Poor Rosy (South Carolina), C, 2/4 . . . 90 Wrighton, The Dearest Spot on Earth, B[, 4/4 . . . . . . . . . . . . . . . . . . 91 Absent Davie (Scotland), D, 4/4 . . . . . 92 A, 4/4 . . . . . . . . . . . . . . . 93 B[, 3/4, 1 . . . . . . . . . . . . . .
25 25 25 26 26
II-5 Easy Leaps Within the Tonic Triad . . . . . . . . . . . . . . . .27 59 Beethoven, opening theme of Symphony #3 (‘Eroica’), E[, 3/4 . . . . . . . . . . . . 60 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 61 Latham, Broadway Sights, A, 6/8 . . . . 62 A la Claire Fontaine (France), F, 2/4 . . . 63 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater, G, 4/4. . . . . . . . . . . . . . 64 Sullivan, E[, 6/8 . . . . . . . . . . . 65 A Recouvrance (France), F, 4/4 . . . . . 66 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 67 Carmela (Mexico), E[, 4/8 . . . . . . . 68 My Father, How Long? (Florida), F, 4/4 . 69 Bach, Chorale, ‘Es ist gewisslich an der Zeit’, B[, 4/4 . . . . . . . . . . . . . . . . 70 Annie Laurie, C, 4/4. . . . . . . . . . 71 Cutler, The Son of God Goes Forth to War, B[, 4/4 . . . . . . . . . . . . . . . . 72 Luther, We Come Unto Our Father’s God, G, 4/4. . . . . . . . . . . . . . . . . 73 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 74 Foster, Hard Times Come Again No More, E[, 4/4 . . . . . . . . . . . . . . . . 75 Weston, Row, Burnie, Row, E[, 2/4 . . . 76 En Revenant d’Auvergne (France), B[, 2/4. 77 Entendez-Vous Sur l’Ormeau (France), F, 4/4, 1 . . . . . . . . . . . . . . . . .
27 27 27 27 27 27 28 28 28 28 28 29 29 29 29 30 30 30 30
II-6 The Leap of a Fifth Within the Tonic Triad . . . . . . . . . .31 78 79 80 81 82 83
Rousseau, Hush, My Babe, F, 2/4 . . . Dans la Forˆet Lointaine (France), F, 2/4. The Beggar Girl (England), F, 6/8 . . . Hawthorne, Home, By and By, F, 4/4. . Froebel, Beckoning the Pigeons, G, 3/8 . F, 2/4 . . . . . . . . . . . . . .
. . . . . .
31 31 31 31 32 32
33 33 33 33 33 34 34 34 34 34
II-8 Leaps Within the Dominant 35 94 Mozart, allegro from ‘Eine kleine Nachtmusik’, F, 4/4 . . . . . . . . . . . . . 95 Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487, G, 3/4 . . . . . . . . . 96 folk song, G, 3/4 . . . . . . . . . . . 97 Derri`er’ Chez Nous il y a Trois Fleurs (France), G, 2/4. . . . . . . . . . . . . ¨ 98 Annchen von Tharau (Germany), G, 3/4. . 99 Ah! Mon Beau Chˆateau! (France), A, 2/4 . 100 Ainsi Font, Font, Font (France), G, 2/4 . 101 Husband, Revive Us Again, C, 3/4 . . . 102 Lightly Row (Spain), F, 2/4 . . . . . . 103 God Speed the Right (Germany), C, 4/4 . 104 Mozart, aria (Papageno) from ‘The Magic Flute’, G, 2/4 . . . . . . . . . . . . . . 105 Sch¨onster Schatz, Mein Engel, D, 3/4 . . 106 Down in the Valley, C, 9/8 . . . . . . 107 Musieu Bainjo (Louisiana), G, 2/4 . . . 108 Brother, Guide Me Home (Tennessee), A, 4/4 . . . . . . . . . . . . . . . . . . 109 Serenata (California), B[, 2/2 . . . . . 110 Mozart, adagio from string quartet # 1, G, 3/4 . . . . . . . . . . . . . . . . . . 111 Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’, B[, 4/4 . . . . . . . . . . . 112 Beuttner, Es kam ein treuer Bote, F, 4/4 . 113 Bach, Chorale, ‘Valet will ich dir geben’, D, 4/4 . . . . . . . . . . . . . . . . . . 114 Bach, Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’, G, 4/4 . . . . . . . . . . . 115 Gardez Piti Milatte-l`a (Louisiana), B[, 4/4 116 Shout On, Children (Georgia), A, 2/4 . . 117 Schubert, Wohin?, G, 4/8 . . . . . . .
35 35 35 35 35 36 36 36 36 36 36 37 37 37 37 37 37 37 38 38 38 38 38 39
5
118 Bach, Chorale, ‘Liebster Jesu, wir sind hier’, G, 4/4. . . . . . . . . . . . . . . . . 119 Haydn, menuet Oxford symphony, G, 3/4 . 120 Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’, D, 4/4 . . . . . . . . . . . 121 Schubert, Halt!, C, 6/8 . . . . . . . . 122 Holst, Venus theme from The Planets, D, 3/4 . . . . . . . . . . . . . . . . . . 123 Serenata (California), B[, 2/2 . . . . . 124 If Your Foot Is Pretty, Show It (United States), D, 3/8 . . . . . . . . . . . . . 125 G, 3/4 . . . . . . . . . . . . . . .
39 39 39 39 39 40 40 40
II-9 Wider Leaps Within the Dominant . . . . . . . . . . . . .41 126 Bates, America the Beautiful, C, 4/4 . . 127 Eli Yale, B[, 2/4 . . . . . . . . . . . 128 Krambambuli, D[, 2/4 . . . . . . . . 129 Go ’Way, Old Man (Louisiana), E[, 3/4 . 130 Our Baby (France), A, 2/4 . . . . . . 131 Aux Marches du Palais (France), F, 6/8 . 132 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’, A, 4/4 . . . . . . . . . 133 Bach, minuet, D[, 3/4 . . . . . . . . 134 Arlequin Tient Sa Boutique (France), A, 2/4 . . . . . . . . . . . . . . . . . . 135 Ballade de Roland (France), G, 6/8 . . . 136 folk song, G, 6/8 . . . . . . . . . . 137 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 138 Praise, Member (South Carolina), G, 2/4 . 139 Wach’ Auf, Mein Hort, F, 6/8 . . . . . 140 Barbara Allan (Scotland), B, 4/4 . . . . 141 I’m a Pilgrim (Italy), G, 4/4 . . . . . . 142 Haydn, finale, London symphony, D, 4/4 . 143 Dans Notre Jardin (France), F, 2/4 . . . 144 The Gypsy Warning (Missouri), E[, 3/4 . 145 Jungfr¨aulein, Soll Ich Mit Euch Gehn, F, 4/4 . . . . . . . . . . . . . . . . . . 146 G, 4/4 . . . . . . . . . . . . . . . 147 Strauss, Not Yet, A[, 6/8 . . . . . . . 148 Ah, Suzette, Ch`ere (Louisiana), E[, 3/4 . 149 La Paloma Blanca (Arizona), F, 6/8 . . . 150 Schubert, Das Wandern, B[, 4/8 . . . . 151 C, 3/4 . . . . . . . . . . . . . . . 152 Chill Ether (Scotland), E[, 3/4 . . . . . 153 folk song, A[, 3/4 . . . . . . . . . . 154 folk song, A, 6/8 . . . . . . . . . .
6
41 41 41 41 42 42 42 42 42 43 43 43 43 44 44 44 44 45 45 45 45 46 46 46 46 46 47 47 47
155 Bach, Chorale, ‘Nun ruhen alle Walder’, B[, 4/4 . . . . . . . . . . . . . . . . . . 156 Bach, Chorale, ‘Wenn wir in h¨ochsten N¨oten sein’, G, 4/4 . . . . . . . . . . . 157 The Duke of Argyle’s Courtship (Scotland), D, 3/4. . . . . . . . . . . . . . . . . 158 Samuel, The Fairy Boat, G, 2/4 . . . . 159 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 160 B[, 4/4, 1 . . . . . . . . . . . . .
48 48 48 48 48 49
III Minor Keys . . . .51 III-1 Solfeggio in the Minor Mode . . . . . . . . . . . . . . . .51 III-2 Steps . . . . . . . . . . . . .53 161 162 163 164 165 166 167 168 169 170 171 172 173
a, 4/4 . . . . . . . . a, 6/8 . . . . . . . . a, 3/4 . . . . . . . . a, 3/4 . . . . . . . . Lewis, a, 4/4 . . . . . Lewis, a, 3/4 . . . . . Lewis, a, 3/4 . . . . . Lewis, d, 4/4 . . . . . Lewis, d, 4/4 . . . . . Lewis, d, 3/4 . . . . . Lewis, d, 3/2 . . . . . Bach, gavotte in G minor, Lewis, a, 4/4 . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . g, g/minor . . . . .
. . . . . . . . . . . . .
. . . . . . . . . . . . .
53 53 53 53 53 53 54 54 54 54 54 54 55
III-3 Leaps Within the Tonic Triad . . . . . . . . . . . . . . . .56 174 c, 4/4 . . . . . . . . . . . . . . . 56 175 c, 4/4 . . . . . . . . . . . . . . . 56 176 Wedge, c, 3/4. . . . . . . . . . . . 56 177 Who Got Dirt on the Carpet Again?, c, 4/456 178 c, 3/4 . . . . . . . . . . . . . . . 56 179 c, 4/4 . . . . . . . . . . . . . . . 56 180 Wedge, f, 2/4 . . . . . . . . . . . . 57 181 Wedge, f, 2/4 . . . . . . . . . . . . 57 182 Wedge, f, 2/4 . . . . . . . . . . . . 57 183 f, 4/4 . . . . . . . . . . . . . . . 57 184 Bach, Chorale, ‘Herr, nun lass in Friede’, a, 4/4 . . . . . . . . . . . . . . . . . . 57 185 Every Hour in the Day (Georgia), e, 2/4 . 57 186 Forget na’, dear Lassie (Scotland), a, 3/4 . 58 187 Bach, Chorale, ‘Es steh’n vor Gottes Throne’, g, 4/4 . . . . . . . . . . . . . 58
188 Mozart, theme from symphony in G minor, g, 4/4 . . . . . . . . . . . . . . . . . 58 189 Thou Poor Bird, c, 4/4, 1 . . . . . . . 58
III-4 Leaps Within the Dominant59 190 Wedge, g, 3/4. . . . . . . . . . . . 191 Wedge, g, 2/4. . . . . . . . . . . . 192 My Field (Russia), g, 4/4 . . . . . . . 193 g, 9/8 . . . . . . . . . . . . . . . 194 Wedge, g, 3/4. . . . . . . . . . . . 195 Wedge, g, 3/4. . . . . . . . . . . . 196 Wedge, c, 3/4. . . . . . . . . . . . 197 Bach, melody from the notebook for Anna Magdalena, g, 3/4 . . . . . . . . . . . . 198 lullabye (Russia), e[, 4/4 . . . . . . . 199 Las Tristes Horas, e, 2/4 . . . . . . . 200 Wedge, g, 3/4. . . . . . . . . . . . 201 Froebel, The Wolf, c, 4/8 . . . . . . . 202 Guten Abend, g, 3/8 . . . . . . . . . 203 Bach, Gavotte II from cello suite # 5, c, 12/8 . . . . . . . . . . . . . . . . . 204 Lolotte (Louisiana), c, 4/4 . . . . . . . 205 Mozart, menuet from string quartet # 15, d, 3/4 . . . . . . . . . . . . . . . . . 206 Los Ojos Mexicanos (Mexico), g, 2/4 . . 207 White, Ophelia’s Song, e, 4/4 . . . . . 208 Bach, Chorale, ‘Nun sich der Tag geendet hat’, a, 4/4. . . . . . . . . . . . . . . 209 Reir Es Necesario (Mexico), d, 2/4 . . . 210 En Avant, Gr´enadiers! (Louisiana), e[, 4/4 211 Angel de Mis Amores (Mexico), d, 2/4 . . 212 Schubert, Am Feierabend, a, 6/8 . . . . 213 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’, a, 4/4 . . . . . . . . . . . . . . . . . 214 Brahms, Nachtwache 1, b, 4/4 . . . . . 215 Mi Sue˜ no (Mexico), c], 3/4 . . . . . . 216 Bach, Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion, d, 4/4 . 217 Bach, Chorale, ‘Von Gott will ich nicht lassen’, b, 4/4 . . . . . . . . . . . . . 218 Wedge, g, 4/8. . . . . . . . . . . . 219 Wedge, g, 3/4. . . . . . . . . . . . 220 Handel, aria ‘O Jordan, Sacred Tide’ from Esther, g, 3/4. . . . . . . . . . . . . . 221 Go Down, Moses (Unites States), g, 4/4 .
59 59 59 59 59 59 60 60 60 60 60 60 60 61 61 61 61 61 61 62 62 62 62 62 63 63 63 63 64 64 65 65
IV Other Diatonic Materials. . . . . . . . . .67 IV-1 Leaps Between the Tonic and Dominant . . . . . . . . . . .67 222 Ya Viene El Alba (California), G, 2/4 . . 67 223 Scarlatti, Gi`a il Sole dal Gange, A[, 3/4 . 67 224 Schubert, Danksagung an den Bach, G, 2/467 225 Grieg, e, 4/4 . . . . . . . . . . . . 67 226 zandunga folk song (Southern Mexico), e, 3/4 . . . . . . . . . . . . . . . . . . 68 227 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 68
IV-2 Leaps Within the Subdominant, Major Keys . . . . . . . . .69 228 Jehovah, Hallelujah (South Carolina), F, 3/4 . . . . . . . . . . . . . . . . . . 69 229 Arlequin Marie Sa Fille (France), C, 3/4 . 69 230 folk song, F, 2/4. . . . . . . . . . . 69 231 folk song, F, 2/4. . . . . . . . . . . 69 232 Foster, Old Folks at Home, D, 4/4 . . . 70 233 Lang Johnny More (Scotland), F, 2/4 . . 70 234 The Bonniest Lass in a’ The Land (Scotland), C, 2/4 . . . . . . . . . . . . . . 70 235 Old Hundred, G, 4/4 . . . . . . . . . 71 236 Da Unten Im Tale, E[, 3/4 . . . . . . 71 237 I Want To Be Ready (United States), E[, 2/4 . . . . . . . . . . . . . . . . . . 71 238 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 71 239 The Ash Grove (Wales), F, 3/4 . . . . . 71 240 West, The Jenny Lind Mania (United States), G, 2/4 . . . . . . . . . . . . . 71 241 Au Jardin de Mon P`ere (France), F, 6/8 . 71 242 Strauss, Devotion, C, 4/4 . . . . . . . 72 243 I Ride an Old Paint (United States), D, 3/472 244 Whittier, Song of the Free, E[, 3/2 . . . 72 245 Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea, F, 3/8 . . . . . . . 72 246 Tallis, If Ye Love Me, F, f/major . . . . 73 247 Sinner Won’t Die No More (Tennessee), A, 4/4 . . . . . . . . . . . . . . . . . . 73 248 Mozart, opening from clarinet quintet, A, 4/4 . . . . . . . . . . . . . . . . . . 73 249 The Gold Band (Tennessee), G, 3/4 . . . 73 250 Pergolesi, tune from Stabat Mater, G, 4/4 74 251 Bonnie Wee Window (Arkansas), E, 6/8 . 74
7
252 Fearis, Beautiful Isle of Somewhere, A[, 6/874 253 Bradbury, He Leadeth Me, B, 4/4 . . . . 75 254 Sullivan, The Blue Juniata, F, 2/4 . . . 75 255 Red River Valley, E, 4/4 . . . . . . . 75 256 I’m In Trouble (Florida), C, 4/4. . . . . 75 257 Haydn, introduction, London symphony, D, 4/4 . . . . . . . . . . . . . . . . . . 75 258 Rosa Lee, A[, 2/4 . . . . . . . . . . 76 259 My Lodging Is On the Cold Ground, A, 6/876 260 Cowboy’s Home Sweet Home (Arkansas), G, 12/8 . . . . . . . . . . . . . . . . 76 261 Calinda (Louisiana), F, 6/8 . . . . . . 76 262 The Braes O Yarrow (Scotland), C, 3/4 . 77 263 Gaudeamus Igitur, G, 3/4 . . . . . . . 77 264 Mozart, andante from string quartet # 2, A, 3/4. . . . . . . . . . . . . . . . . 77 265 The Wild Moor (Missouri), B, 3/4 . . . 77 266 Brahms, introduction, 1st symphony, C, 4/4 . . . . . . . . . . . . . . . . . . 77 267 Caroline (Louisiana), G, 4/4 . . . . . . 78 268 Avril (France), E[, 6/8 . . . . . . . . 78 269 Mozart, menuet from string quartet # 10, C, 3/4. . . . . . . . . . . . . . . . . 78 270 The Hallowed Spot (Missouri), A[, 3/4. . 78 271 folk song (Russia), G, 2/4 . . . . . . . 79 272 The Ship That Never Returned (Missouri), A, 2/4. . . . . . . . . . . . . . . . . 79 273 Paradies, M’ha Preso Alla Sua Ragna, A[, 2/4 . . . . . . . . . . . . . . . . . . 80 274 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 80 275 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 80
IV-3 Wide Leaps Within the Subdominant . . . . . . . . . . .81 276 Mozart, presto from string quartet # 4, C, 2/4 . . . . . . . . . . . . . . . . . . 277 Ellor, Diadem, B[, 3/4 . . . . . . . . 278 Mozart, rondo from string quartet # 6, B[, 2/4 . . . . . . . . . . . . . . . . . . 279 Adieu, Bonne Hˆotesse (France), F, 4/4. . 280 Derri`ere Chez Moi (France), F, 2/4 . . . 281 Foster, The Song of All Songs, F, 4/4 . . 282 Gladden, The Mountains, B[, 4/4 . . . .
81 81 81 81 82 82 82
IV-4 Leaps Within the Subdominant, Minor Keys . . . . . . . . .83 283 Wedge, f, 2/4 . . . . . . . . . . . . 83 284 Wedge, f, 3/4 . . . . . . . . . . . . 83
8
285 Wedge, c, 2/4. . . . . . . . . . . . 286 g, 4/4 . . . . . . . . . . . . . . . 287 Hanukah O Hanukah, d, 4/8, Presto . . . 288 Vivo Llorando la Suerte (Mexico), d, 2/4 . 289 Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem, D, 3/4 . . . . . . . . . 290 Bach, trio from Brandenburg concerto # 1, d, 3/4 . . . . . . . . . . . . . . . . 291 Que No Te Amo (Mexico), g, 4/4 . . . . 292 folk song (Russia), d, 4/4 . . . . . . . 293 folk song (Russia), f, 2/4 . . . . . . . 294 Entre Vous Tous Gens de la Ville (France), f, 3/4 . . . . . . . . . . . . . . . . .
83 83 84 84 84 84 84 85 85 85
IV-5 Leaps of a Seventh . . . . .86 295 Mozart, menuet from string quartet # 8, F, 3/4 . . . . . . . . . . . . . . . . . 86 296 Hess, Little Charley Went a Fishing, F, 6/8 86 297 folk song, A, 4/4 . . . . . . . . . . 86 298 Carmela (Mexico), E[, 4/8. . . . . . . 87 299 Mozart, menuet from string quartet # 1, C, 3/4. . . . . . . . . . . . . . . . . 87 300 Gwine Follow (South Carolina), A, 2/4 . . 88 301 Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah, E[, 3/4 . . . . . 88 302 Bayly, Long, Long Ago, D[, 4/4 . . . . 88 303 Cradle Song, F, 4/4 . . . . . . . . . 88 304 Widdecombe Fair (England), C, 3/4 . . . 89 305 Walk, Shepherdess, Walk (Arkansas), C, 4/4 . . . . . . . . . . . . . . . . . . 89 306 Reir Es Necesario (Mexico), F, 2/4 . . . 89 307 folk song (Russia), A, 3/4 . . . . . . . 89 308 A Quinze Ans (France), g, 6/8 . . . . . 89 309 Mozart, menuet from string quartet # 8, F, 3/4 . . . . . . . . . . . . . . . . . 90 310 Mozart, presto from string quartet # 7, E[, 2/4 . . . . . . . . . . . . . . . . . . 90 311 Upidee, G, 4/4 . . . . . . . . . . . 90
IV-6 Other Perfect Fourths and Fifths . . . . . . . . . . . . . . . .91 312 Mozart, opening from string quartet # 4, C, 4/4. . . . . . . . . . . . . . . . . 91 313 folk song, G, 2/4 . . . . . . . . . . 91 314 La Rana (Mexico), D, 3/4 . . . . . . . 92 315 Poulton, Aura Lee, F], 4/4 . . . . . . 92 316 Weber, Softly Now the Light of Day, A, 2/492 317 Harris, After the Ball, B[, 3/4 . . . . . 93
318 Sullivan, Take a Pair of Sparkling Eyes, F, 6/8 . . . . . . . . . . . . . . . . . . 93 319 Sullivan, Sing Hey to You, Good-Day to You!, G, 2/4 . . . . . . . . . . . . . . 93 320 Foster, Slumber My Darling, E[, 6/8. . . 93 321 Foster, Gentle Annie, E, 4/4 . . . . . . 93 322 Were You Ever in Rio Grand, B, 6/8. . . 94 323 Rimsky-Korsakov, Scheherezade (theme from third movement), C, 6/8 . . . . . . . 94 324 Beethoven, opening movement from string quartet # 1, F, 3/4 . . . . . . . . . . . 94 325 Mozart, trio from string quartet # 1, C, 3/494 326 Abt, Kathleen Aroon, G, 3/4 . . . . . . 94 327 folk song (Germany), D, 4/4 . . . . . . 95 328 Moore, Love’s Young Dream, G, 6/8. . . 95 329 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 96 330 R´emon (Louisiana), F, 2/4. . . . . . . 96 331 Juanita, D, 3/4 . . . . . . . . . . . 96 332 Thompson, Lilly Dale, B[, 4/4 . . . . . 97 333 G, 2/4 . . . . . . . . . . . . . . . 97 334 Pergolesi, aria from Stabat Mater, G, 4/4. 97 335 Bach, menuet II from cello suite # 2, D, 3/4 . . . . . . . . . . . . . . . . . . 97 336 Brahms, introduction, 1st symphony, C, 4/4 . . . . . . . . . . . . . . . . . . 98 337 processional march song (Germany), D, 4/498 338 Milhaud, Chant de Sion, A[, 4/4 . . . . 98 339 Sagt Mir, O Sch¨onste Sch¨af’rin Mein, A, 6/8 . . . . . . . . . . . . . . . . . . 99 340 Gunhilde, F, 2/4 . . . . . . . . . . . 99 341 Ach, Englische Schaeferin, F, 3/4 . . . . 99 342 Bach, Chorale, ‘W¨ar’ Gott Nicht Mit Uns Diese Zeit’, C, 4/4 . . . . . . . . . . . . 99 343 Handel, Angels Ever Bright and Fair, E[, 4/4 . . . . . . . . . . . . . . . . . .100 344 Beethoven, allegro from string quartet # 6, B[, 3/4 . . . . . . . . . . . . . . .100
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale . . . . . . . . . . . . . . . .101 345 a, 4/4 . . . . . . . . . . . . . . .101 346 O Daniel (Florida), d, 4/4 . . . . . . .101 347 Bach, Invention 2, c, c/minor . . . . .101 348 Mozart, andante un poco allegretto from string quartet # 5, a, 4/4 . . . . . . . . .101 349 Goldfaden, Raisins with Almonds, a, 3/4, Lullabye . . . . . . . . . . . . . . . .102
V Nondiatonic Materials 103 V-1 Secondary Dominants and Chromatic Passing Tones . . . .103 350 Luther, A Mighty Fortress Is Our God, D, 4/4 . . . . . . . . . . . . . . . . . .103 351 Kevin Barry (Ireland), C, 3/4. . . . . .103 352 Who Got Dirt on the Carpet Again?, c, 4/4103 353 Conkey, God is Love, His Mercy Brightens, G, 3/4. . . . . . . . . . . . . . . . .104 354 Shoals, Valedictory, G, 4/4 . . . . . .104 355 Autrefois le Rat de Ville (France), G, 2/4 .104 356 Webbe, Come, Ye Disconsolate, B[, 2/2 .105 357 Keller, Angel of Peace, F, 4/4 . . . . .105 358 Butterfield, When You and I Were Young, C], 4/4 . . . . . . . . . . . . . . . .106 359 Woodbury, Speed Away! Speed Away!, A, 3/8 . . . . . . . . . . . . . . . . . .106 360 Mozart, aria from the Magic Flute, E[, 3/8106 361 Let God’s Saints Come In (Virginia), G, 2/4 106 362 Vivo Penando (California), F, 2/4 . . . .107 363 Allan Maclean (Scotland), G, 3/4 . . . .107 364 Stradella, Ragion Sempre Addita, A, 3/8 .107 365 Dans le Port, Il Est Arriv´e (France), G, 2/4107 366 Root, Brother, Tell Me of the Battle, D, 3/4 . . . . . . . . . . . . . . . . . .108 367 Cooper, Beautiful Bells, A[, 3/4 . . . .108 368 McNaughton, The Faded Coat of Blue, G, 4/4 . . . . . . . . . . . . . . . . . .108 369 Mozart, menuet from string quartet # 1, C, 3/4. . . . . . . . . . . . . . . . .109 370 Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’), G, 4/4 . . .109 371 Crep´ usculo (Mexico), D, 2/4 . . . . . .110 372 Media Noche (California), E[, 2/4. . . .110 373 Pergolesi, tune from Stabat Mater, f, 4/4 .110 374 Bach, Bourr´ee II from orchestral suite #2, b, 4/4 . . . . . . . . . . . . . . . . .111 375 The Cruel Mother (England), E[, 3/4 . .111 376 Hawthorne, Out of Work, A[, 4/4 . . . .111 377 Joplin, The Easy Winners, C, 2/4 . . . .112 378 Edwards, In My Merry Oldsmobile, G, 3/4 112 379 Erlaube Mir, Fein’s M¨adchen, F, 3/4. . .112 380 Bach, Menuet I from orchestral suite #1, G, 3/4. . . . . . . . . . . . . . . . .113
9
381 Handel, chorus from ‘Judas Maccabaeus’, C, 4/4. . . . . . . . . . . . . . . . .113 382 Shackleton, The Orange and the Black, B[, 4/4 . . . . . . . . . . . . . . . . . .114 383 Adelphi School Song, G, 4/4 . . . . . .114 384 Mozart, Duet from The Magic Flute, E[, 6/8 . . . . . . . . . . . . . . . . . .115 385 Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487, G, 3/4 . . . . . . . . .115
V-2 Blue Notes . . . . . . . . . .116 386 387 388 389 390
The Graveyard (South Carolina), F, 2/4 .116 Roll, Jordan, Roll (United States), D, 2/4 116 Cyclone at Ryecove (Missouri), A, 3/4 . .116 Europe, Goodnight Angeline, G, 4/4 . . .117 ’Tis Me, O Lord (Unites States), A[, 4/4 .117
V-3 Relative Minor and Major .118 391 Schwesterlein, g, 3/4 . . . . . . . . .118 392 Es Ritt ein Ritter, b, 6/8 . . . . . . .118 393 Cradle Song (Sweden), f, 2/4 . . . . .118 394 Bach, Chorale, ‘Befiehl du deine Wege’, b, 4/4 . . . . . . . . . . . . . . . . . .118 395 Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’, d, 4/4 . . . . . . . . . . .119 396 Feinsliebchen, Du Sollst, a, 2/4 . . . . .119
10
397 Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’, e, 4/4 . . . . . . . . . . . . . .119 398 Crouch, Kathleen Mavourneen, C, 3/4 . .120
VI The C Clef . . . .121 399 C, 4/4 . . . . . . . . . . . . . . .121 400 C, 3/4 . . . . . . . . . . . . . . .121 401 The Ash Grove (Wales), C, 3/4 . . . . .121 402 Haydn, menuet Oxford symphony, C, 3/4 .121 403 folk song, C, 6/8 . . . . . . . . . .122 404 Wach’ Auf, Mein Hort, C, 6/8 . . . . .122 405 La Paloma Blanca (Arizona), C, 6/8 . . .122 406 Holst, Venus theme from The Planets, G, 3/4 . . . . . . . . . . . . . . . . . .122 407 folk song, G, 6/8 . . . . . . . . . .123 408 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater, F, 4/4 . . . . . . . . . . . . . .123 409 Mozart, aria (Papageno) from ‘The Magic Flute’, B[, 2/4 . . . . . . . . . . . . .123 410 Haydn, finale, London symphony, D, 4/4 .123 411 Every Hour in the Day (Georgia), a, 2/4 .123 412 lullabye (Russia), a, 4/4 . . . . . . . .123 413 Feinsliebchen, Du Sollst, a, 2/4 . . . . .124 414 Crouch, Kathleen Mavourneen, G, 3/4 . .124
Chapter I
Rhythm The rhythms in this chapter all come from well-known tunes. After reading them, you may want to look at the titles, which are given in the table of contents. If you’re working with a teacher, you may wish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tune the second time.
I-1 Whole, Half, and Quarter Notes
1 >
>
>
2 >
>
=
>
3 > > > > > =
=
> > =
> >
> >
= =
> > > > =
=
> >
>
>
>
> > > >
> = =
> > > >
>
>
>
=
>
>
>
=
= =
> > > >
> > = =
>
4 = = > > = > > > > > > = > > > > > > = > > > > > > = 5 > = > > = = > > > > = > > = > > > > > > = > > <
1
2 , rhythm of Twinkle Twinkle, Little Star , rhythm of Little Brown Jug 5 Rain, Rain, Go Away , rhythm of O Come, All Ye Faithful
3
, rhythm of Bingo
4
, rhythm of
I-2 3/4 Time, and Dotted Half-Notes
6
3 4
=
7
3 4
=
=
>
>
=
=
>
>
>
=
=:
> > > >
> > >
> > >
=:
=:
=
>
=
=
>
> > >
>
> > >
=:
=:
=:
> > >
=:
=
>
I-3 Eighth Notes
8 > > > > > > > > > > > > > > =: > > > > > > > > > > > > > > =: 9
3 4
> > >>>> > > > > >>>> > > > > >>>> > > >> > > > =
10 > > = > > = > > > > > > > > > > > > > > > > > > = > > > > > > = 11 > > > > >
>
>
=
> > > > >
> >
>
>
=
I-4 Dotted Quarter Notes
12 > > = > > = > > > : > <
> > > > > > > >> > > > > > ( > (
13 > > > > : > > > > ( > > > > : > > > > ( > > > > : > > > > : > > > > > = 6
7 8 , rhythm of We Three Kings , rhythm of Take Me Out to the Ball Game , rhythm of O Little Town of 9 10 Bethlehem , rhythm of We Wish You a Merry Christmas , rhythm of This Old Man 11 , rhythm of Hush Little Baby 12 , rhythm of Jingle Bells 13 , rhythm of Jimmy Crack Corn
14
Chapter I. Rhythm
14 15 16
3 4
3 4
3 4
> >: > > > > > > > > = > >: > > > > > > > > =
>: > > =:
> > >
=
>
>: > >
> >: > =: =
=
>: > >
=:
=
>
=:
> > >
> > > > > =: = > : > > > > > > > > =: =:
>> =
>> > > >
=
I-5 Sixteenth Notes
17
2 4
> > > > >
> > > >
> > > > >
> > > >
>: > >: > > >
: > > > >
>: > >: > =
I-6 Dotted Eighth Notes
18 > : > > >
19
3 4
> > >
20 > :
=
>: > =:
> >: > >: >
=: =
> > > =
>:
> > >: > =
> >
>
= <
14
15 16 17 , rhythm of Away in a Manger , rhythm of Rockabye Baby , rhythm of Home On the Range P.I. 18 19 Tchaikovsky, rhythm of trepak from The Nutcracker , rhythm of Alouette P.I. Tchaikovsky, rhythm of waltz of the flowers from The Nutcracker 20 , rhythm of I’ve Been Working on the Railroad
I-5. Sixteenth Notes
15
I-7 Compound Time
21 22 23 24
6 8
6 8
6 8
12 8
> > > > > > > > > > > > > > > > > > >: > > > > > > > > > > > > > > >: >: > > > > > >: > > > > > > >: (: >: > > >: > > > > > > >:
> > > > > > > > > > > > > >: > > > > > > > > > > ( > ( > > >: >: >: >: > > >: > > > > >: >: > > > > > > > > > > > > > > > > >: >:
I-8 Syncopation
25
2 4
> >
> > > > > >
>
> > > >
> > > > > > >
>:
I-9 Triplets
26 > * > > > > * > * > * > * =
> * > > > > * > * > * > * > * +> >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > > * > * 3
21
3
22 23 , rhythm of Here We Go Round the Mulberry Bush , rhythm of The Itsy-Bitsy Spider , rhythm of Pop 24 25 Goes the Weasel , rhythm of Row, Row, Row Your Boat Scott Joplin, rhythm of The Entertainer 26 P.I. Tchaikovsky, rhythm of march from The Nutcracker
16
Chapter I. Rhythm
Chapter II
Major Keys II-1 Introduction to Solfeggio The following syllables are traditionally used for the seven notes of the major scale.
<
<
< do
re
mi
<
<
<
<
fa
so
la
ti
< do
They originate from the Latin hymn Ut Queant Laxis, in which the first word of each successive musical phrase began on the next note of the scale.
This book uses the movable do system. In this system, ‘do’ is always the tonic, and the other syllables are assigned to the other notes according to their role in the key. In the key of D, for example:
/ / < do
< re
< mi
<
<
<
<
fa
so
la
ti
< do
This may seem confusing at first, but it’s the only system that makes sense to the ear. For instance, ‘ti’ is always a note with a tendency to move up a half-step to ‘do,’ the tonic. (There is also a fixed do system, in which ‘do’ is always C, ‘re’ is always D, and so on. The fixed do system is often taught to European schoolchildren, who don’t know enough music theory to recognize the roles of the different notes in relation to the tonic in a key that has sharps or flats.)
Sight singing is first and foremost a method of training your brain to understand relationships between musical notes, and is therefore an important component of musicianship even if you consider yourself primarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvising a solo on the saxophone needs to be able to imagine a melody, and understand the relationship between the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllables are a device for making the recognition of the relationships automatic.
Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to sing intervals, or to sing each note according to its role in the key. That is, we can hear each note in relation to the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in the melody is C, which is ‘do.’ In the first approach, we recognize this as the interval of a half-step (minor second), so we move to the note a half-step above the one we’ve just sung. In the second technique, we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the note that sounds like it would be a good one to end the song on. In reality, one doesn’t use either technique exclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare, do you use phonics, or do you recognize whole words?’ A fluent reader is actually decoding patterns at a subconscious level, and the process is extremely rapid because most of the patterns are familiar.
Because the goal is rapid recognition of patterns at a subconscious level, one should not expect to become a fluent sight singer by artificial devices. For instance, many people learn to recognize the interval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle. This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes the preceding vowel long. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes the U long.’ Learning the phonics rules is necessary, but having learned them, we actually become fluent readers through the act of reading large amounts of English.
There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiar melodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain will probably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’ play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ and one for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just shows that the technique is artificial and not usually very useful.
18
Chapter II. Major Keys
II-2 Melodies Containing Only Steps In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. If you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chord to bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the first example. If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfortable part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.
27 >:
> >
>
28 =
> >
=:
29
3 4
(
>
> >
(
>:
> >
> > > =
> (
>:
( >
=
> > > >
<
( =:
>
<
( ( ( > > > > > > > = > > > > famous tune (identified in the table of contents)
30 > > > > > > > > > > > : > > > > > > >: > = > >>>> > >= >>
The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing your brain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’ and finally singing ‘do ti do’ — with authority!
31 / 32
/
>
> =
> > > >
=:
=
>
> =
3 4
=
3 4
> >: > > > > : : > > > > > > > * > * > > * > >: > > *
II-2. Melodies Containing Only Steps
19
= < 33 // > > > > > > = > >
> > > > > > = > > = <
/ 34 // ( > > >
( >
35
////
> > > >
=
> > > >> =
=
: > > ( > > > > * >> > > > > > > :> * > > > > > > > > :> * >> > > > > > > >> > > :> Moderato
6 8
Note that the following two examples both have the tonic on the line at the center of the staff, so the one with five sharps actually isn’t any more difficult to read.
/ 36 // //
3 4
= >> >>>>>> = >> >>>>>> = >> = >> >>>>>> = (
37 33 > > > > > >
>>>>> >
> ( > (
>>>>> >
The following five melodies all begin on ‘so.’
38 33 > > > > > > > > > ( > > > > > = ( > = > =: ( > > > > > > > > > > >> > We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous key is flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the note correctly, you should be able to hear its strong tendency to resolve down to ‘mi.’
39 333
3 4
> > >
=:
33
> > >
=:
> > > > >
anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis
20
Chapter II. Major Keys
> = 35
Pierre Latour,
40 3333 > > > = > > > > > > : > < 3
> > : > > > (>>> = > > < 3
41 33333 > > > : > > > > =
> > > =
> > >: >
The following two melodies both have the tonic at the same place on the staff.
> >* > > * ( >>> >
42 333333 > > > > 43 /
> > * > > *
>> >: >: >: >: > > > > > > > > > > >: >: >: >: > > > > > > (
6 8
Canon for two voices:
44 > > > > 1
> > > > > 2
> > > =
::
( > > > >
Canon for two voices:
45
2 4
3 4
46
2
45
3 4
>> >> >> = >> >> >> >> >> >> > > > > > > >> = >> 1
2
> ( >> = > ( >>( = > >>> > (
>>
(
>>> >
>>"
= > > > > > >> > > >> = ( > =
=: > =:
L.O. Emerson, Whither Through the Meadow?
II-2. Melodies Containing Only Steps
21
Canon for two voices:
47
/ (
!
2
> > > >
/ >
2
/ =:
>
/ > > =
48
49
=
::
<
> > =
<
=: < =
<
= = = = <M = = = = <
= = = = <
L.R. Lewis
22
49
< < N
L.R. Lewis
Chapter II. Major Keys
=
<
=:
< >
<
2
48
<
<
<
:: > > > >
>
> > > >
=
2
":
>
> > > >
> > > > =: <
=
=
<
=
=
<
M = = = = = = <
> :: ::
<M
= = = = = = = = = = < N N
50
51
2
6 8
6 8
> > > > > >
> > > >:
> > > > > >
> > > >: >:
> > > >
>
3 > 3 >> > > > >> > > > >
2
3 ( 3
!
> > > >:
> > >
>
!
"
3 3 > ( ( >> > ( ( >> > ( ( >> >>>>> ( 3 ( >>> ( 3
3 ( ( 3 >>>
2
3 > ( 3
50
L.R. Lewis
51
(
> ( >>>
( >>> ( (
>> >
>>> > (
(
( >>
( >> > >>> >> > > > (
"
2
> > > >
>
>
=:
>
(
>> >
>
>>> ( (
( >>
>>>> >>>>
>> >>>> > > >> =
"
L.R. Lewis
II-2. Melodies Containing Only Steps
23
3 3 > > > > > =:
2
3 3 > > > >
24
>
> >>> >
> > > > > > >>>> >
Chapter II. Major Keys
> > =
=:
> > > > > > > =:
II-3 Leaps to ‘Do’
52 / 53 3
3 4
> >>>> > >> > * * * > * > * > >>>> > > * > > > > =: =: > > > > > > > > > = > = > = ( > " > = >> = >> > ( " =: > > > =: > > > > > Adagio
3 4
II-4 Leaps Back to Remembered Notes
>: > > > > * > * > * =
* * * > * = 54 > : > > > > > *
* / 55 // > > > > = > > > > =
/// > > > >
56
///
>: > =
> > > > > > = *
> > > >
=
> >
= > >
> >>=
* > > > > > > > > > > > = > > > > : > > > > > = : >
/// *> > > > > > =
> > > > > > > > > > >>> > > =
The following example uses both leaps back to remembered notes and leaps to the tonic.
55
J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’
56
J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’
II-3. Leaps to ‘Do’
25
* * 57 / > > > > > > > > > > > =
/
* * " *>>> > > >>>> > > =
* * " *>>> > > >>>> > > =
" *>>> > > >>>> > > =
The next tune is easier than it appears, because you only need to return to the same note after each low G.
58
58
3 4
> > > >>> > > > > >>> > > > > > > > > > > > =:
folk song
26
Chapter II. Major Keys
II-5 Easy Leaps Within the Tonic Triad This section introduces leaps of a third, a fourth, and an octave within the tonic triad. famous tune (identified in the table of contents)
59 333 60 / 61
>
>
>
>
=
= > >>> >>> >>> > > >= > >>> > > >= : =( =( > = > =
3 4
> > > >> > > > > > > > > > > > > > : > > > :> > > > > > > > >>> > > > > Allegretto
6 8
Allegro
> >> > > > > > > > > > > > > > > > > > > > > > > > > > > > >> > > > > >> > > >
2 4
< 63 / 33
=
Allegro
///
62 3
>
=
3 4
64 3
6 8
<
> > =:
>>* >>*
= > >> > >>
> > > >: > >>>
: : : : > >>> > > > > > >: >: : : > >> > > > > >> > > > > >
65 3 > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > 60
Alessandro Scarlatti, Su, Venite a Consiglio 61 W.H. Latham, Broadway Sights (France) 63 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater A Recouvrance (France)
62
anonymous, A la Claire Fontaine A.S. Sullivan 65 anonymous,
64
II-5. Easy Leaps Within the Tonic Triad
27
3 >>>>>>>> >>>>>>>> >>>>> >>> > > > (
66
12 8
33
67 3
> > > > * > > * > > > > * > > > > > > >> > > > > >> > > > > >> >> > 4 8
* > > >
3
3
> > > > >
> > > > >
> > > > > 3
::
=
68 3 > > > > > = ( > > > = = ( > > > = = ( > > > : > : > = : > : = : = > > 3 ( ( > >: > >: = > > > > > >: >: > = = >> = =
69 3 3 > > > > > > > > > > > > > > > > = > :: > > > > > 3 > 3 >> > >
70 > >
=: >
> > > > =: >
66
> > > > >> > > >>
= =
= =
=: >
=
=
> = >
<
Froebel, Pat-a-Cake 67 anonymous, Carmela (Mexico) 68 anonymous, My Father, How Long? (Florida) Bach, Chorale, ‘Es ist gewisslich an der Zeit’ 70 anonymous, Annie Laurie
28
Chapter II. Major Keys
69
J.S.
= > > : = >
71 33 >
>: > > >
> >: > >
3 3 >: > > > 33
=: > = =
> > > >
: > > > : > = > >: > >
=: >
= =
=: > =: > <
> > > > >
=: >
> > > > : > > > >
=
>: > > > >: > > >
> > > >
=:
72 / > > > > > > > > > > > > > = > > > > > > > > > > / >>>> = >> >>>> >>>> >>> >>>> >>>> = > >
73
//
//
71
3 4
> >: > > > > >: > > * > >: > > > >
: >: > > > > > > > > >: > > > > >: > 3
H.S. Cutler, The Son of God Goes Forth to War Lawlan’ Jenny (Scotland)
72
>: > > > * > ( >: > > >
Martin Luther, We Come Unto Our Father’s God
II-5. Easy Leaps Within the Tonic Triad
73
anonymous,
29
74 3 33 > > > > > > > > > > > > > > : > > > > > > : > = ( > > > > > > > > M 3 > = > ( > > > > 3 > > * > > > ( > 3 2> > > > > >>>> > >:> = M M 33 > 3 > > > > >: > : ( > > >: >> > > > > > > > >: >> > > > =
75 333
Allegretto
> > >
2 4
=
>: > > > > > > > > > > >: > >: > > > : >
The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’
76 33
> >>> > > > * > >>> > > >>> > > > > > > > > > ( > > Con moto
2 4
This four-part canon includes a leap of a sixth to ‘do.’ 3 4 > > > 77 3 > > > > > > > = > > > > >= > >>>> >>>>= > > > > = = 1
2
74
Stephen Foster, Hard Times Come Again No More 75 H. Burgess Weston, Row, Burnie, Row Revenant d’Auvergne (France) 77 anonymous, Entendez-Vous Sur l’Ormeau (France)
30
Chapter II. Major Keys
76
anonymous, En
II-6 The Leap of a Fifth Within the Tonic Triad
78 :: 3
2 4
> >: > > >
3 =
:: > > : > > >
3 =
> >: > > >
79 3 80 3
2 4
> >
> >
> >: > > >
> >: > > >
>: > >: > > >
>: > >: > =
> > > > > :> > > > * > :> > > > > > > :> > > > * > > * > > * > > :> > > > * > : > > > > >: > > >: > > >: > >: >
3 >: > > >: > > >: > > > > > Moderato
81 3 > > : > > > : > > > : > = = 3 > >: > > >: > > >: > 78
>: > >
>: > >
Grazioso 6 8
> >: > > >
>: > >
> >
>: > > >: > > >: > > >
>
>: > > >: > > >: > > >: > >: > > >: > > >: > > ( > >: > >
J.J. Rousseau, Hush, My Babe 79 anonymous, Dans la Forˆet Lointaine (France) (England) 81 Alice Hawthorne, Home, By and By
>: > > >: > = 80
anonymous, The Beggar Girl
II-6. The Leap of a Fifth Within the Tonic Triad
31
82 / 83 3
3 8
> > > > * >> > > > > * * > > > : > > > > > > > >>> >>( " * * > > >>>> Andante
2 4
* * > > >>>> >>( "
> >: : * ( 3 > * ( ( > >: > > > = > ** > > >: > >: > >
82
Froebel, Beckoning the Pigeons
32
Chapter II. Major Keys
>>( =
II-7 Leaps of a Sixth Within the Tonic Triad
84
/
Allegro vivace 2 4
>
/ > >
85 / 86 3 87 /
>
>
> > > >: > >
( > > >
>
>
> >>> > >>> > >
>
>
>
> >>> >
>: > > >
2 4
> > > > > >: > > > > > > * > > > > > >: > > > > > > = >: >
2 4
>: > > >
2 4
> >>> > > >>>> > > > > >>>> > > > >> > > > >> > >> > > =
> > > *
>: > > >
> > > > *
The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its wide range, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!
88 /
/
2 4
> >> >> > > >> >>> >>>> >
> > >> > > >
* :: :: > >
> > > > > > > > > > > > * > > > > > > > > > > > > > > * :: > >> > >>
84
85 anonymous, As-Tu Vu la Casquette? (France) anonymous, Praise, Member (South Carolina) 87 88 Beckoning the Chickens folk song anonymous, Poor Rosy (South Carolina)
II-7. Leaps of a Sixth Within the Tonic Triad
86
Froebel,
33
89
2 4
> >> >> > > >> >>>
>>>> >
* : : > > > >> > > > : : >
> > > > > > > > > > > > > > > * > > > > > > > > > > > > > > > > > * :: Another example that includes leaps to ‘do.’
3 : > >: > > > > > =: > < > : 90 3 > > > > > >: =: > >: > =: > >
91 // > : > > : > > > > > : > > > > > : > > : > > > > > : > > > > * > > > / 92 // * > > > > > > > > > > ( > > > < * > > > > > > > > > ( > > > < >> Canon for two voices:
93 33
3 4
> = > 2> > > ( > > ( > > ( > :: >: > > > > > >: > ( 1
89
anonymous, Poor Rosy (South Carolina) Davie (Scotland)
34
Chapter II. Major Keys
90
W.T. Wrighton, The Dearest Spot on Earth
91
anonymous, Absent
II-8 Leaps Within the Dominant This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are included in section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.
94 3 > * > * > > > > ( > > > 95
/
96 / 97 / 98 /
99
/
3 4
3 4
> * > > * > >> > ( > >
famous tune (identified in the table of contents)
= > > > > ( > > >> > > > > = > >> > > ( > > >> > >
>
>
> > > >
> >
> >
>
> > > >
=
>
Un poco allegretto 2 4
> > > > > > : > > > > > > : * :: > > > > > : > > > > > > > > > > > > :: > >> >> > >> >
3 4
( > ( :: > : > > : > > = > > > > > > > > > >: > > =
= ( > > > >: > > > > > = ( > > > > > > >: > >
///
Moderato 2 4
> >> >
> >> >> >> >>>> > >
> >> >> >>
95
W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 96 folk song 97 anonymous, Derri`er’ Chez Nous il ¨ y a Trois Fleurs (France) 98 anonymous, Annchen von Tharau (Germany) 99 anonymous, Ah! Mon Beau Chˆ ateau! (France)
II-8. Leaps Within the Dominant
35
///
100 / 101
2 4
> > > > > > >> >> > >>> >>> > >> >>>> >
> > > > > > > > = > > > > = > > > > > > =
3 4
102 3
> >> > > > >> >>>> >>>> > > > >> >>>> >
>>>
2 4
>>>
3 >>>> >>>
>>> >>>> >>>> >>>
>>> >>>
>>> >>>
> > >: * >> > > >: * >>
> > 103 > : > > > : > ( : > > > : : > > > = >: > = > > > = >: > Maestoso
>: > =: ( =: ( >: > > > > > > > >: > > > > > > > = = >: > >
104 /
2 4
>: > > > > > > > > > > > > > > >> > : > >
100
anonymous, Ainsi Font, Font, Font (France) 101 John Husband, Revive Us Again 102 anonymous, Lightly Row (Spain) 103 anonymous, God Speed the Right (Germany) 104 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’
36
Chapter II. Major Keys
=: =: = > > > > = > =: =: =: = > = > = > Hell und freudig
105 //
3 4
// > > > = > = > = > = : = : = > > > > > > > = (
106
107 / 108
>: > > > > > =:
> > >
9 8
2 4
///
> > >
>: >: > > > =:
>> >> > >> >> > >> >> > = > > > > > > > > > > > > > > > > > > :: > > > > > >>> > > > > : >> > > > > > > > > = ( > > > > > > > > * >> ><
109 33 > > > = = = ( > > > > > > > = = > > > > > > = = = > > = > > < = " 3
110 /
3 4
>
111 33 >
3
>:
>
3
> >: >:
> >>> >
3
>
3
> > >:
> > > >
>
> > > >
> >: >
(
>>> >
::
105
anonymous, Sch¨ onster Schatz, Mein Engel 106 anonymous, Down in the Valley 107 anonymous, Musieu Bainjo 108 (Louisiana) anonymous, Brother, Guide Me Home (Tennessee) 109 anonymous, Serenata (California) 110 W.A. Mozart, adagio from string quartet # 1 111 J.S. Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’
II-8. Leaps Within the Dominant
37
112 3 > > > > > = > > > > > > = ( > > > > > > > > > > > > > = ( > > > > > =: 113 // > > > > = > >
:: > > > > > : >
// > > > > > > > > > =: > > > > > > > > > > > > > > > =:
114 / >
/
> > =
> > > >
> > > > > > > > > > =
> > > > > > > >
115 3 3 > > > > > > > > > > > > > > > > Allegretto con grazia
> > > >
> > =
> > > >> = > = "
:: > > > >
3 >>>>> > > >>> > >> > < 3 > > > > > > > : > > = " :: > > / 116 //
2 4
> > > > > > > > >: > > > = > > > > > > > > > >: > > > =
112
Nikolaus Beuttner, Es kam ein treuer Bote 113 J.S. Bach, Chorale, ‘Valet will ich dir geben’ ‘Wie bist du Seele in mir so gar betr¨ ubt’ 115 anonymous, Gardez Piti Milatte-l` a (Louisiana) On, Children (Georgia)
38
Chapter II. Major Keys
114 116
J.S. Bach, Chorale, anonymous, Shout
117 /
118 / > > > > >
/
119 /
>: > > > > > > > > > > > + (:
> > > > > >
4 8
> > > >
> > =
> > > >
> > =
<
> > > >
> > > >
> > =
<
> > > > > > > >>>> > ( > > > > > > > > > > >> > >>>> > > >> >
3 4
120 // > > > > > >
121
// 6 8
122 //
::
> > > >
> > > 3 4
>
> >
> > > > > > > > >
>
> > > > > > > > >
> * > >
>:
=
::
>
> > > >
>
>
>:> > > > > >:> > > > > = > > > > > > > > > > > = >: > >
117
Franz Schubert, Wohin? 118 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 119 Franz Joseph Haydn, menuet Oxford symphony 120 J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’ 121 Franz Schubert, Halt! 122 Gustav Holst, Venus theme from The Planets
II-8. Leaps Within the Dominant
39
3 = 3 >>> = = = ( > >>>>>> = = >>>>>> = = > > = > > < = " 3
123
2
3
3 3 >>> < 3
124 // 125 /
123
/ /
(
3
3
" = = = > >>>>>> = = >>>>>> = = > > > > < = 3
3
3
3
> : > > >: ( > >> * ( > >> * ( > > > > > > > > > > >> ( > > >> Moderato
3 8
3 4
* > >> >> >>>>>> * >>>>> ( = : > > >
* >>>>> ( = > >
>
>: > >
anonymous, Serenata (California)
40
3
124
":
> >
>
* > >> >> >>>>>> >: > >
":
* > > > > > > > > > > * >: > >
anonymous, If Your Foot Is Pretty, Show It (United States)
Chapter II. Major Keys
: > > > >
II-9 Wider Leaps Within the Dominant This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferred until section IV-5.
>: > >
126 > 127 33
2 4
famous tune (identified in the table of contents)
>
>: > > >
> > >
>
=:
> > >: >: > > > > > > > > > : > > > > > > > > > > > > > : > > > > *
3 > > > > > > > >: > >: > > > > * > > > > > > > 3 >: > >: > > > >
128 3 3333
2 4
> > > > > : > > > > > > > > > > > > > > > > > > > * ::
33 > >: >> > > > > > * : > 3 > > : 33 > >>>> >>> >>>> >>>
129 333
3 4
> > > > > > > > > > > > > > > > > = > > >
3 3 3 = ( > > > =: = > > > > = > > > > > > > > > > =:
127
anonymous, Eli Yale
128
anonymous, Krambambuli
129
anonymous, Go ’Way, Old Man (Louisiana)
II-9. Wider Leaps Within the Dominant
41
/ 130 //
131 3
2 4
>>>
>>>
>>>> > >
>>>
>>>
>>> > > >
> > > > > >: > > > > > > >: > > > > > > > > > > > > >: > > > >
6 8
/ 132 // ( > > > > > > > = ( > > > > > > = = :: ( > > > > /// > >> >>> = ( > > > >>> = ( > > > > > > > = = > >
133 33333 134
///
///
135 /
6 8
3 4
> > > > >> > > > = > > >>> > >>> > > > > > > > =: Un poco allegretto
2 4
>: > > > > >: > > > >: > > > > > > > > > > > > > > >
> > > > > > : : > > >> > >> > >> > >> > > > > > * > > > > > > > > > > > > > > >: > ( > > > > > > > > > > >: > (
130
anonymous, Our Baby (France) 131 anonymous, Aux Marches du Palais (France) 132 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 133 J.S. Bach, minuet 134 anonymous, Arlequin Tient Sa Boutique (France) 135 anonymous, Ballade de Roland (France)
42
Chapter II. Major Keys
/
136 /
/
137 3
> > > > > > > > > : ( > > > > > > > ( > : > > > > > > > 6 8
> > > > > > > > > >: ( > > > > > > > > > > > > > > > > >
> > > > > > : ( ( > > > > >> >> >> : (: >: > > > > > > > > > > > > 2 4
( > > > >: > = >: > > > >: > = ( > > > >: > = ( >: > >
3 > > > > (
138 /
136
2 4
>
> >
: > > > > >M: > > > > > = = > > > >>>> > = :: >> > > >: > > > > >
/ > > >: > > > >>> /
> > > >
folk song
137
>
* >: >
>
> >
>: > > > > > > > >: > > >
> > > >: > > > > >
anonymous, Tu Eres Mas Bella (Costa Rica)
>
138
> >: > > > >: > >
anonymous, Praise, Member (South Carolina)
II-9. Wider Leaps Within the Dominant
43
139 3
> > > > >: > > > > > > > > > > > > > > > > > > > Mit kraeftiger Leidenschaft
6 8
> > > > > > > > > > 3 > > > > : > > > >> > > > >: > >
/ 140 // // > : > > > : > > > > > > > : > : > > > > > : > > > > > > >
////
= > > : / > = > > > >: > > > > : > > : > > >: > > > > > >: >
141 / > > > > > * > > > > > > ( > > > > > > > > > > > ( ( > > > > > * > > > / >> ( >> >>>>>> > ( * > > > > > > > > * > > > >: >> * > > >
/
> > * > > > >:>> ( > > > > > * > > > > > > ( > > > > > > > > > > =
142 // > > = > > >>= >> = > > > >> = = = > > > >> = = 139 142
anonymous, Wach’ Auf, Mein Hort 140 anonymous, Barbara Allan (Scotland) Franz Joseph Haydn, finale, London symphony
44
Chapter II. Major Keys
141
anonymous, I’m a Pilgrim (Italy)
Allegro
143 3
>: > > >
2 4
144 3
>: > > >
=
> * > *
> * > >
3 >: > > > 33
>: > > >
=
> > > >
=
> > >
>> > > >> > > > > > > > > ( > > > > >>>> > > > > >> > >> > >> > = 3
3
3 4
3
3
Lebhaft, doch zart
145 3 >
> > > >
> > > >
3 > > > > 3 > > > >
> > > > =:
>
> > > >
=
> > > >
> >
= > >
> > > >
= > >
> > > > =
> >
> > > > = (
= > > > 146 ( > > > ( * > > > > * > ( > > > ( * > > > > * > >: > /
143
/
Allegretto
= >: >
>>>>
>( > >( >=
anonymous, Dans Notre Jardin (France) Jungfr¨ aulein, Soll Ich Mit Euch Gehn
144
<
>>>>
>>( >>>>>
anonymous, The Gypsy Warning (Missouri)
II-9. Wider Leaps Within the Dominant
145
anonymous,
45
147 3333 148 333
( ( > >> ( > > > > > : > : : > > > > > >: > >: > > >: >: > Molto mesto
6 8
( >: > > =
Allegretto comodo 3 4
> ( >: > > > ( >>>> = (
( > >>> > =
3 = ( > > > > = : :: :: 3 3 ( > > > > > > > ( > > > > > > > > ( > > > > >
149 3
6 8
> > > >
>
> * > >
3 *
> > > > >>> > >>>>>
3 *
> > > > >>> > >>>>>
150 33
4 8
>
>
>
>
>
> *
> >
>> >
> >:
::
> > > > >>> > >>>>> ( > > * > > * > >:
> > > > >
>
>:
> >
*
Andante
151
3 4
> >> > >> > > >>>>> > > > > > > >> > > : > > > > > > =
147
Richard Strauss, Not Yet 148 anonymous, Ah, Suzette, Ch`ere (Louisiana) (Arizona) 150 Franz Schubert, Das Wandern
46
Chapter II. Major Keys
149
anonymous, La Paloma Blanca
152 333
3 4
> > > >
3 3 3 >: > >
153 3333
3 4
>: > >
>
k
33 33 >>> > = (
= >
Fine
154
///
6 8
>: > > >: > >:
* >
>
=
>
=
* > (
= > = > > ( >> > = > = > = > > >>> > >
33 33 = > = (
///
>: > >
>
* >
3 8
> > > > = ( > >
= >
> > >
D.S. al fine > > > > > > > > > > > > > > > > >: >:
> > > > >> * >> > *( > > >>> > >> * > > > >>> >
> > > > * ( > > > > > > > > > >: > > >> > > > : > > > > > >: > >> >>
155 33 > > > > > > = > > > > > > > > = > > > > > > > > >
152
anonymous, Chill Ether (Scotland)
153
folk song
154
folk song
155
J.S. Bach, Chorale, ‘Nun ruhen alle Walder’
II-9. Wider Leaps Within the Dominant
47
> 3 =: > > > > > > = > > > > > > > = 3 > > > > > >> > > >
156 / >
> > > >> >>> > >
/ > > > > >
157 //
3 4
> : > >> >
>
> > > > > > > > >
> > > >: >>> > > >
>>> >: > > > > > > > >: > > > > > > > > > > >: > 3
/ > / > > > > > > > > >: > > > > > > >: > > > > >
158
/
159 3
> > > + > > > > > > > > > > = >:>> > > > > > * > > >: > >>: > = = Andante
2 4
>>>> >> > > > * >>>> >> > >>>> > > > > > Anmutig
2 4
3 > * > > > > > > > > >
> > > > > >
> > > >
>
Canon for two voices:
156 158
J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’ 157 anonymous, The Duke of Argyle’s Courtship (Scotland) 159 Harold Samuel, The Fairy Boat anonymous, Gar Lieblich Hat Sich Gesellet
48
Chapter II. Major Keys
2 160 33 > :: = = = : > > > > ( > > > ( ( > > > > > > > " > > > > = > > :: 1
II-9. Wider Leaps Within the Dominant
49
50
Chapter II. Major Keys
Chapter III
Minor Keys III-1 Solfeggio in the Minor Mode Some people sing in the minor mode using these solfeggio syllables:
3 33
< 2< 2< < < < < < do
re
me
fa
so
la
ti
do
< 3< 3< < < < < < do
te
le
so
fa
me
re
do
This system has the advantage that most of the notes have the same functions as in the major mode. ‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names of the notes stay the same when switching between the parallel major and minor.
Others prefer this:
3 33
2< < 2 < < < < < < la
ti
do
re
me
fi
si
la
< 3< 3< < < < < < la
so
fa
mi
re
do
ti
la
This system highlights the relationship between the minor and its relative major.
If you don’t have a teacher who wants you to use one system or another, I suggest you use the first one, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’ is still a formula for a cadence.
In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a flattened one. The chromatic scale looks like this:
< do
< /<
< /< di
do
<
re
ri
< /<
mi
fa
fi
< /< so
<
3<
2<
3<
2<
3<
2<
ti
te
la
le
so
se
fa
< /<
si
< mi
la
3< me
li
< ti
2<
3<
re
ra
< do
2< do
The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic system in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)
52
Chapter III. Minor Keys
III-2 Steps The purpose of the first exercise is to get used to the solfeggio syllables used in minor.
161 > > > > > > > > > > > > > > = > > > > > > > > > > > > > > > > :: Poco a poco accelerando
162
6 8
> > > >
>:
Largo
163
3 4
> > * >
>:
>> > > > > >
>:
>> > > > > >
>:
> > * > > > > > =:
This melody introduces the use of the ascending and descending forms of the melodic minor scale. The rhythmic figure is the same as in the preceding tune.
> > > /> > > > > > > > > /> /> > > >> > > > > > > /> > > /> > / > > > > = : Largo
164
3 4
165 > > > > > > > /> > 2> > > /> /> = > 2> > > > /> /> > > > > > > > = 166
3 4
> > > > > > /> > > > 2> > > > > = ( > > /> /> > >
167
3 4
> > =:
165
L.R. Lewis
166
L.R. Lewis
> > > 167
/= :
> > >
=:
> 2> >
=
>
L.R. Lewis
III-2. Steps
53
= > > =:
> /> />
=:
> > >
> > >
= > =:
168 3 > > > >
> > > >
> > > >
2> /> =
169 3 > > > >
> > =
2> /> > >
> /> =
>
( > > > > 2> /> > 2> 3> > > 2> /> = ( > > > > > > > > /> > >
170 3
3 4
> > >> > > >> >>
171 3
3 2
/= < /= = 2= 3= < = > > 2= = > < > = = = ( = = =
172 33 > > > > > > > > > > > > > > > > > > > > > > > > > 3 >>>> >>>> > > > > 3 > > > > > >> >: > = > /> 2> > > >
168
L.R. Lewis
54
169
L.R. Lewis
170
L.R. Lewis
Chapter III. Minor Keys
171
L.R. Lewis
172
J.S. Bach, gavotte in G minor
173
> >> > >>>
2
>> > >
"
2
<
> > > > > /> > "
( > > > > > > >
> > > /=
=
>
(
> > > > > > > > > > > > >
2
/= :
173
> >
> < >>>> >>>>> >
> > > 2>
> >
> > > /=
>
=
(
>
(
> > > > > > > > 2> (
"
> > > > > >
=:
=:
> > > > > > >
L.R. Lewis
III-2. Steps
55
III-3 Leaps Within the Tonic Triad
= 174 333 > 2> = > ( = > > = > ( = > > = > ( = > > > > > (
175 333
> > > >> > >> > > > > > > > ( ( (> (>> >( ( > ( < >
176 333
> > > > > > > > > > > > > > =: > > > > > > > > > > > > > =: 2>
3 4
>
>
>: > >: > >: >: = > >:
= >
177 333 > 178 333
3 4
>
3 > >: > >: >: 33
179 333 > > > > > > >>>>> 33 2> 3 176
G.A. Wedge
56
177
>
>
=
3
>
>:
> 3
>:
=
> =
> >: > =: >
>
"
: > 2> : 2 > =
> > > =
> >> >>>
>
> >>>>>
2> > > > (
2> ( > (
Who Got Dirt on the Carpet Again?
Chapter III. Minor Keys
(
2>
(
180 3333
2 4
> >
> >> = > > >
> >
> >> > >> =
181 3333
2 4
>
>
> >> = >>>>
> >
>>>> > 2>
182 3333
2 4
>
> >> > > >
183 3333 >
2> > 3> >
184 > > /> /> = /=
/> > > >
185 / 186
180
3 4
2 4
=
=
> >> >>>> =
>>>> > >
> > 2>
> > > >
>
>
> > > >
=
> (
= = =
=
=
"
>: > =:
> > > > = /= > > > >
=
=
> > > > >:> > >>> > > > > > >>> >> >>> > > > > > > > /> >
>: > > > > > > = >: > > : > > : : > > > > > > >: > > > > >
G.A. Wedge 181 G.A. Wedge Every Hour in the Day (Georgia)
182 186
G.A. Wedge 184 J.S. Bach, Chorale, ‘Herr, nun lass in Friede’ anonymous, Forget na’, dear Lassie (Scotland)
III-3. Leaps Within the Tonic Triad
185
anonymous,
57
> >: > >: > >: > > > > > >: >
> >: > = > > > >: > >
> >: > =
> >: > = >: > > >: > > > > > > >: >
187 33 > > > /> > = > > > > > > = > > > > > /> = : famous tune (identified in the table of contents)
188 33 > >W ( > > > > > >W > > > > W > > >>> >> > W W Round: 1 189 333 > > =
187
> > > > 2
J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’
58
Chapter III. Minor Keys
189
> > > 2> > > > > 3
anonymous, Thou Poor Bird
4
> > =
III-4 Leaps Within the Dominant
190 33
3 4
> > > > > =: > > >>>>>> > > > > > > > /> > > > > /> = :
191 33
2 4
>
>
>>> >> > = >
> >
>>>
> >
> />
=
famous tune (identified in the table of contents)
192 33 = > > = > > > /> > > = > > > > = = > > > > > /> > > > > > > > > < Andante
193 33
Vivace 9 8
> >> > >>> > > > > > >
>>> >>>* >>>>>> >>
3 > > >>> > 3 >>> > >* >>>>>> >> >>> > >> > 3 > 2> /> > > > * 2> 3> > > > > > > > > > > > > * > > 3 >>>>
194 33 195 190
33
3 4
3 4
G.A. Wedge
> >> >>> >> > > > /> > = > > /> > > > > > > > /> > > = >> >> > > >>>> > > > > > >>> >>> > > =: > > > > > > > =: 191
G.A. Wedge
194
G.A. Wedge
195
G.A. Wedge
III-4. Leaps Within the Dominant
59
196 333 197 33
= > > 2> > > > > > 2> > = :
3 4
3 4
= > > 2> > > 2> > > > =:
> > > > > > > > > > > > > > > > > > > > > > > > /> = : ::
< > > > >> > > > >>>> >> < > 198 333333 > : > > > > : > > > > > > > > Largo
199 / 200 33
201 333 202 33
+
2 4
3 4
4 8
> > > +>>>> > > > + > > > +>>>> > = > /> >>> >>>
> > > > > > > > > > > > > = > > > > > > > /> > > > /> = > >: > > >
> > > *
>: > > >
* > > > 2> > >
> > > > > >: > > > > > > > > > > > > > /> > Draengend, doch nicht schnell
3 8
3 > > > > >>> > /> > > > > > > > > > > /> : 3 >: >
196
>
G.A. Wedge 197 J.S. Bach, melody from the notebook for Anna Magdalena 198 anonymous, lullabye (Russia) anonymous, Las Tristes Horas 200 G.A. Wedge 201 Froebel, The Wolf 202 anonymous, Guten Abend
60
Chapter III. Minor Keys
199
203 333
12 8
> > > > > > > :> > > > > > > >
204 333 > :
> >
>
3 > 3 3 >: > > > > >
>
>
> >>> > > 2> > > > > > > > > > > > > > > > 2> > > > : :: >: >
>:
> 2>
>
>
>
>
* > > > > >: >: > > > : > > > > 2>
3 3 3 > > > > >: : > > > > > >: >: > > > > > 2> >
205 3 206
33 /
3 4
> > > > > > :> > > > > > :> > > > > > > > :> > > > > > > /> > > > /> > > > /> = +> > > > > : +> >: > > * > > > > > > > > > /> > > > > > > > > > > /> > > 3
2 4
::
3
3
Andantino
207 > > > > > > > > > > > > > > > > > > > > > = > > > > > > > > > > :> = : /> /= : /> 3
208 > > > > > > > > > > > > > = ( > > > > > /> > > > > > > : > = 203
J.S. Bach, Gavotte II from cello suite # 5 204 anonymous, Lolotte (Louisiana) 205 W.A. Mozart, menuet from string quartet # 15 206 anonymous, Los Ojos Mexicanos (Mexico) 207 Maude Valerie White, Ophelia’s Song 208 J.S. Bach, Chorale, ‘Nun sich der Tag geendet hat’
III-4. Leaps Within the Dominant
61
209 3
+> >:>> > > > +> >:> * > >:>> > > > +> > > > > > > >: > /> > 3
2 4
> > = > > > > > > > 210 333333 > > = = > > > > > > Allegro marziale
33 = > >> > > > > = 3 3 33
> >
> >>> >
> >>> >>
> 33 3 3 > 2> 2> > > > > > > > 3 > 3 > > > > > > > > > > 2> 2> > = 33
211 3
2 4
> > >: > > * > : > >: > > > > > > > > > >: > > >>>> > 3
3
> 3 > > > * * : > > > : > > : > > >>>> > > > >>>> > = 3
212
6 8
> >
> > > /> >
3
>
* > > >
>: > > >
>
> > (:
213 > > > > > /> > > /> > > > > > > = = > > > > > > = > > > > > = =
209
anonymous, Reir Es Necesario (Mexico) 210 anonymous, En Avant, Gr´enadiers! (Louisiana) 211 anonymous, Angel de Mis Amores (Mexico) 212 Franz Schubert, Am Feierabend 213 J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’
62
Chapter III. Minor Keys
214
//
>: > > > > pp Langsam
/ 215 // /
3 4
216 3 > 3 =
>: > > > > > > > > "
/> ( ( * >
( : >: > : ( :: = > = > > : > > : : > > > = > : /> = : = : =: > > =: M > = >
> > > > M > >
> > >>> 3
> > >>> M =:
>
> > >>> =M:
>
>>> > >
=M: >
>>> > > = >M >
> > > > =
>M >
M > > > > =:
217 // > > > > > > : > > > > > > > > = : :: > > > > > = : > / > > > > >: > > > >> > >: > > > > > > : > > > > > > > /> = : /
218 33
4 8
> >>> >
> >>> >
> > /> > > > > > > /> >
214
Johannes Brahms, Nachtwache 1 215 anonymous, Mi Sue˜ no (Mexico) 216 J.S. Bach, Chorale, ‘O Haupt voll Blut 217 und Wunden,’ from St. Matthew’s Passion J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’ 218 G.A. Wedge
III-4. Leaps Within the Dominant
63
3 3 2> > > > />
> > /> > >
219 33
3 4
> > > >> >
220 33
3 4
> : > > > = > > /> > > /= :
3 3 = > /= : 3 3 =:
":
=
> > > > > >> =: > > > / > > > /> > > > = : > > > > >> > ":
":
":
> > > = />
>>>>>> > > > > > > > > > > > >: > > > > >:
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3 3 >> : > /= : > > = > = 3 ": 3
> > > > > > > />
= > >: > = > >
=: ":
> > > > > /= > = > =:
>: > > >
> > > > > /= > = > =: > > > 2> > 2= > > /> > > : > >
3 > 3 > * ( * > ( * > = : > > > /> > = : > : > > /> : > = > /> >
219
G.A. Wedge
64
220
G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
Chapter III. Minor Keys
3 " > : > " > > 3 > > : > : > > /> 2> = 2> /> > > > > > /> : > = : /= : Lento
221 33 >
> > > >
3 > > = 3
> > = =:
> > /> > :
> >: > > >: > 3 3
>>: =
>
> > > >
famous tune (identified in the table of contents)
> > /> > : ( >>=
> =:
=: >
> =:
* > > > /> > :
III-4. Leaps Within the Dominant
=
>: > <
65
66
Chapter III. Minor Keys
Chapter IV
Other Diatonic Materials IV-1 Leaps Between the Tonic and Dominant The following three songs contain the leap from ‘ti’ to ‘mi.’
222 /
2 4
223 3333
> > > > =
=
2 4
> > > >
=
> > > > : > >W W > > > >>> > >W > > > >
> >: >
> >: > >: > > > > >: > > > >
=:
Allegro giusto 3 4
>
33 > 33 > >
224 /
> > > > > >> > > =
> =
>> > >> > > > >> >: > > > > > >: > > >> > > * > > > > >> > +* (
The next three use leaps of a diminished fourth, an interval which sounds like a major third, and is typical of minor keys.
225 / > > = > > = > > > > > > > = > > = > > = > > > > > /= =
222
anonymous, Ya Viene El Alba (California) Danksagung an den Bach 225 Grieg
223
Alessandro Scarlatti, Gi` a il Sole dal Gange
224
Franz Schubert,
226 /
3 4
=:
= />
> > >
= >
= >
/
/= > > = /> > /= > >
=:
= >
> > >
/= :
> > > > > > : =
=:
227 33 = : > = /> > = > > > > > : > = = > > > = = = > > = > > > = < Moderato affetuoso
226
anonymous, zandunga folk song (Southern Mexico)
68
227
Giulio Carcini, Amarilli, Mia Bella
Chapter IV. Other Diatonic Materials
IV-2 Leaps Within the Subdominant, Major Keys The first two tunes clearly imply the subdominant chord in the marked measures.
228 3
3 4
* * > > > > > > > > > > > = > > > >> > > > > > >
> > >> = >> > > >> = > >>> >> >>> > >>> > = 3 = > *
Allegro
229
>> > > >> > > >> > > >> > = > > > > > > >= > > = >>>>>> > > >> >>
3 4
*
More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chord explicitly. Although dominant harmony can often be implied strongly with only one or two notes, this is not usually true of the subdominant, because of its weaker character. Since thirds are the most common leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and between ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’
230 3
2 4
* * >> > > * > >>>> > > > * > >>>> >>> >>> > > * > > > > > > >
This one jumps from ‘la’ to ‘fa:’
231 3 232
228 231
//
2 4
* >> >>> > >> > > >>> > > > > > > > > > >> > > >>> > > > > *
=
> > > > > 3
3
anonymous, Jehovah, Hallelujah (South Carolina) folk song
famous tune (identified in the table of contents)
> > > >: 3
229
=
>: >
anonymous, Arlequin Marie Sa Fille (France)
IV-2. Leaps Within the Subdominant, Major Keys
(
=:
230
folk song
69
//
> > > > >
=
3
> > > >:
3
3
> >: > > >
(
=:
A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out as well, forming a five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following two examples, the first is pentatonic, while the second uses the full major scale. The first example has been notated with the style’s typical elaborate ornamentation, which you may wish to ignore.
233 3
2 4
>
> >
> : >
: > > > > > 3
>>
3 > >: > >: > 3
234
>>>
2 4
>: > >:
> > > >
> >
> >: >
> : > >> > >> >>
>
>
: > > > >: > > >
> >:
>: > > >: > >: > >
>
>>
>: > >:
>: > >: > >: >
>: >
>:
> > > > > > > > > > > > >: >> > > > >: > > > > > > > > : > > >
>> > > >> > : > > > > > > > : > > > > > > > : > > > > : > > > >> > > >
233
anonymous, Lang Johnny More (Scotland)
70
234
anonymous, The Bonniest Lass in a’ The Land (Scotland)
Chapter IV. Other Diatonic Materials
235 / > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > 236 333
> : : > > > ( * > > > > > > > > * * > > > * * > >: > > > > >: > >>
Sanft bewegt 3 4
33
> > > > >>> > >> > > >>> > > > > > >>>> >> >>>> > > > > > >> Andante
237 3
2 4
Moderato
238
>> >> >> > > > >> >>>> > > > > > > >: > > > > > > > > > > =
2 4
239 3 240 / 241 3
3 4
2 4
> >> > > > > >>>> > >>>> > >> > > > > = > > > > >> > > > > > > > >: > >: >> > > > > > > > > > > ( > > > > : > > > >: > * > >: > ( >: > > > >: > * > > > : > > ( >> > > >> > > Animato
6 8
> > > > > > 3 * > > * * > > > >: > > >: > > > > > > > > >: > > > 235
anonymous, Old Hundred 236 anonymous, Da Unten Im Tale 237 anonymous, I Want To Be Ready (United States) G.B. Fasolo, Cangia, Cangia Tue Voglie 239 anonymous, The Ash Grove (Wales) 240 W.H.C. West, The Jenny Lind Mania (United States) 241 anonymous, Au Jardin de Mon P`ere (France)
238
IV-2. Leaps Within the Subdominant, Major Keys
71
> > >: > : > 242 > : > > > > > *> > > > > > >> > * > > > = Moderato
243 //
3 4
: >> > : >> > >: > > > > > >: > > > > > >: > >: > >
// = > > : > > > > > > > : > > > = >: > > > >: > >: > > > > // > > = > > > > > > > : > > > = : = >: > > > >: > > >: > = > >
244 333
Andante sostenuto 3 2
< = = = = < = = = = < " = = = = = =
3 = < = < = < " = = 3 3 <: = = = < = < = <:
245 3
3 8
3 (:
242 245
>: > > > > > : > > > > > +>>> > +>>> >
: * > * > > > > > > >: > >:
>: > > > > > >: > >:
Richard Strauss, Devotion 243 anonymous, I Ride an Old Paint (United States) G.F. Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea
72
Chapter IV. Other Diatonic Materials
>: > > > >:
244
J.G. Whittier, Song of the Free
246 3 = : >
= = !
3 >>> =
> > > > ( > > >
/// = =
249
246
/ /
3 4
=
> > > (
>: > = >: > =
> > > >
> = >
> > > >: > >
= (
=
> > > >: > >
> > > >
= >: > > >: > > > > = >: > > > > >
= =
/ 248 // = =
=: >
= > >
( > > >
> > > *> > > > >
/ 247 // > : > > > > > /// > > > >
= =
= =
> > > > = =
>: > = >: > =
>: > >
> > > >
> * >: > >
=: >
>
> * >: >
>: > > * > * > >: > > >: > =
Thomas Tallis, If Ye Love Me 247 anonymous, Sinner Won’t Die No More (Tennessee) from clarinet quintet 249 anonymous, The Gold Band (Tennessee)
248
W.A. Mozart, opening
IV-2. Leaps Within the Subdominant, Major Keys
73
W 250 / > = > >W = > = =
/ /
>>> ( > = = W > > >W >W
>
251
////
////
252 3333
6 8
> >
W W = > > >W > =
> > >>>> >
> > >:
>W = > >W = > = =
>>> " W
> > >W >W
W = > > >W >W = >
> > >W >W
>
> > >W >W
> > >>>> <
>>>>> > >>>> > > > > > > > > >> > > >>> > > > >
> >>>> : > > > > > > > > > :: : > > >>> > > >:>> > > > > : > > > >>
> : : > : : > :> > > > > > > > * > > > > > > > > > * > > > > > > : > * > > > Moderato
6 8
> > / : / > > > > > : > : > >> > 253 >> >> > > > > >> / // > > >> > > / /// > > > > > > > > > > > > : > > > > > > /
250
Giovanni Battista Pergolesi, tune from Stabat Mater 251 anonymous, Bonnie Wee Window (Arkansas) Fearis, Beautiful Isle of Somewhere 253 W.B. Bradbury, He Leadeth Me
74
Chapter IV. Other Diatonic Materials
252
J.S.
> > >> > / /// > > > > > > > > > > > > > > > > > > >: > > > > /
254 3
2 4
> > > > >>
> 3 > > >>>
> > * * >> >> > > > >> > > > > >> >
> >> > > * >>> >> > > > * >: > > > > >
/ 255 // / > > > > > > > > > = > > > > > > > = : > > > > > > > > > > = > >> =: > > > > > > > 256 > : > > > : >
>: > > : ( >
>: > > >: >
257 // = > > > > > > = = = >>>>
//
258 3333
> > > >: > =
= = = =
3
>>>>> >
>: > > ( = > > >>>> = = = >>>> = = = = >>>>> > = Allegretto 2 4
> >>
>> >>> >>> >>> >> >>> >>> >> > >: > > >
254
M.D. Sullivan, The Blue Juniata 255 anonymous, Red River Valley 256 anonymous, I’m In Trouble (Florida) Franz Joseph Haydn, introduction, London symphony 258 anonymous, Rosa Lee
IV-2. Leaps Within the Subdominant, Major Keys
257
75
>:> > > 3 3 > > > > > > > > > >> >:> >: > 33 >> >>:>: >: > > > > > >
259 ///
6 8
> > > > >: > > >: > > >: > > > > > >: > > > > > > >
/ // > >: > > > > / // > > > > > /// >: > > > > >
260 /
12 8
> > >> > > > > > >: > > > > > > > > >: > > : > >> > > >> > > > > > >: > >
> >: > >: > > > >: >
>> >>>> > >> >> >> > : > > ( > > > > > > > > >
> >> >> > >> >> / > > > > > > > : : : : > ( > > ( >> >: > > > > >> > >: ( > >
261 3
259
6 8
> >: > > > > > > > > > > > > > > > > > > > > > > > :> > > > > > > > > > > > ::
anonymous, My Lodging Is On the Cold Ground anonymous, Calinda (Louisiana)
76
260
anonymous, Cowboy’s Home Sweet Home (Arkansas)
Chapter IV. Other Diatonic Materials
261
262
>: > =:
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263 /
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264
3 4
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266 > = > > = > > > > > > > = : > = > > = > > > > > > > = > >
262
anonymous, The Braes O Yarrow (Scotland) 263 anonymous, Gaudeamus Igitur 264 W.A. Mozart, andante from string quartet # 2 265 anonymous, The Wild Moor (Missouri) 266 Johannes Brahms, introduction, 1st symphony
IV-2. Leaps Within the Subdominant, Major Keys
77
/
267 > > > > > > > > > > > > > ( > > > > > > > > > > > > > * > 3
3
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268 333
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269
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> > > > > > > > > > > > >: > > > > > > > > > >>>> > > > : 33 3 > > : > > > 3 3
267
anonymous, Caroline (Louisiana) 268 anonymous, Avril (France) 10 270 anonymous, The Hallowed Spot (Missouri)
78
Chapter IV. Other Diatonic Materials
269
W.A. Mozart, menuet from string quartet #
271
/ /
Adagio 2 4
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272 ///
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271
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273 3333
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anonymous, folk song (Russia) 272 anonymous, The Ship That Never Returned (Missouri) Paradies, M’ha Preso Alla Sua Ragna
273
IV-2. Leaps Within the Subdominant, Major Keys
Pier Domenico
79
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274
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275
6 8
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>: > > ( * >: >: > >
274
anonymous, Die Sonne Scheint Nicht Mehr
80
275
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anonymous, Ubi Bene, Ibi Patria
Chapter IV. Other Diatonic Materials
>: >: >:
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IV-3 Wide Leaps Within the Subdominant
276
2 4
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277 33
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278
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279 3 = > > = > > > 3 > > > > > =: > 276 279
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W.A. Mozart, presto from string quartet # 4 anonymous, Adieu, Bonne Hˆ otesse (France)
W >W >
277
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J. Ellor, Diadem
278
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W.A. Mozart, rondo from string quartet # 6
IV-3. Wide Leaps Within the Subdominant
81
280 3
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281 3 > > > > Moderato
282 33 >
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280
anonymous, Derri`ere Chez Moi (France) Mountains
82
281
Stephen Foster, The Song of All Songs
Chapter IV. Other Diatonic Materials
282
(
S.W. Gladden, The
IV-4 Leaps Within the Subdominant, Minor Keys
283 3333
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284 3333
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285 333
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284
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285
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287
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anonymous, Hanukah O Hanukah
IV-4. Leaps Within the Subdominant, Minor Keys
83
3 > >> > >> = = > >> > >> > >> > >> > >> > >> = =
288 3
2 4
3 =
289 // 290 3
3 4
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291 33 > = = > ( > > = = > > > > = = > > > > > =: ( > >> > < 3 3 > > > > = = > > /> > > = = > > > >
292 3 > = : > > > /> > = : /> = : > = =
> > > > <
Allegretto
288
289
290
291
anonymous, Vivo Llorando la Suerte (Mexico) J.S. Bach, trio from Brandenburg concerto # 1 (Russia)
84
> > > > <
W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem anonymous, Que No Te Amo (Mexico) 292 anonymous, folk song
Chapter IV. Other Diatonic Materials
=: > > > > > > > : > = > > =: > > 3 ( = > = > > > <
293 3333
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294 3333
293
Lightly 3 4
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anonymous, folk song (Russia)
294
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anonymous, Entre Vous Tous Gens de la Ville (France)
IV-4. Leaps Within the Subdominant, Minor Keys
85
IV-5 Leaps of a Seventh With leaps of a seventh, as with any very broad leap, the most common problem is simply the inability to reach the note. Make sure to sing each example in an appropriate key. If the leap of a seventh is upward, find the lowest key in which you can comfortably sing the lowest note of the melody.
A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones that are ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventh occur in certain special contexts that make them both easier to sing and more acceptable to the ear. Although it is possible to memorize the sounds of the minor and major seventh leaps and sing them on demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of the examples in this section are folk songs created by people who were illiterate, and probably could not have performed such a trick themselves.
Another technique for use when all else fails is to imagine the seventh as a downward step, with the second note moved up an octave. In all the following examples, however, we’ll see that there are better solutions arising naturally from the logic of the melodic line.
The first example is easy, because the leap begins a repetition.
295 3
3 4
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The next two examples are not much harder; there is repetition, but at a pitch one step higher.
296 3
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6 8
/ 297 // >
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> >>>> >> = *
/// > > > > > > > = > > > > > >>> > = = 295
W.A. Mozart, menuet from string quartet # 8
86
296
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C. Hess, Little Charley Went a Fishing
Chapter IV. Other Diatonic Materials
( >
297
folk song
In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down from ‘ti’ to ‘la.’
33
298 3
4 8
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The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downward to ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you may find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’
299
3 4
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This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easier because we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the descending scale ‘fa-mi-re-do.’
/ 300 //
298
///
2 4
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anonymous, Carmela (Mexico) (South Carolina)
299
W.A. Mozart, menuet from string quartet # 1
300
anonymous, Gwine Follow
IV-5. Leaps of a Seventh
87
/// > > > > > > > > > > > > > > > > > >: > > >>> > > > > >> > * :: Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high points in the line.
301 333
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301
=:
Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah anonymous, Cradle Song
88
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Chapter IV. Other Diatonic Materials
( 302
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T.H. Bayly, Long, Long Ago
303
304
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308
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>: > > >: > > > : > : : : : > >: : >> > > > > > >: > >: >: > > > >: >
304
anonymous, Widdecombe Fair (England) 305 anonymous, Walk, Shepherdess, Walk (Arkansas) 306 anonymous, Reir Es Necesario (Mexico) 307 anonymous, folk song (Russia) 308 anonymous, A Quinze Ans (France)
IV-5. Leaps of a Seventh
89
309 3
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3 4
310 333
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311 / > : > > > > > > >
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90
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310
W.A. Mozart, presto from string quartet # 7
Chapter IV. Other Diatonic Materials
311
anonymous,
IV-6 Other Perfect Fourths and Fifths We’ve already sung leaps of a fourth and a fifth within the tonic, dominant, and subdominant chords, and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap without perceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, in real music they are more commonly produced not by the harmony but by the logic of the melody itself. In the first example, the composer simply wants to repeat a molodic idea at a different pitch. The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.
312 > > > > > ( > > > > > > > > ( > : > > >W > > >W > > > > ": W >: > W W > > >: W W W >W > *
In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.
313 /
2 4
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/
>>>> >>> >>>> >>>> > * > > : > : > > >>> > > >>> >
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> > > > > > > > > * > > > >> > > > > > > > > > > > > > > > > * > >
*
Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.
314
//
3 4
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312
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313
folk song
=:
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314
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anonymous, La Rana (Mexico)
IV-6. Other Perfect Fourths and Fifths
91
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/ 315 // /// > > > > //// / / > > =
316 ///
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317
33
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317
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Charles K. Harris, After the Ball
Chapter IV. Other Diatonic Materials
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C.M. von Weber, Softly Now the Light of Day
92
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Tempo di valse
3 3 =:
316
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famous tune (identified in the table of contents)
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318 3 319 /
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320 333
321
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318
A.S. Sullivan, Take a Pair of Sparkling Eyes 319 A.S. Sullivan, Sing Hey to You, Good-Day to You! Foster, Slumber My Darling 321 S.C. Foster, Gentle Annie
IV-6. Other Perfect Fourths and Fifths
320
Stephen
93
322 /////
6 8
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/ /// : > : > > : ( * > : > > > > : ( > > > > > > > > > > > > : > > > > : > > > = / =
323
6 8
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326 /
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> > > >: ( > > > > > > >> >> > > >> > > >>> > >> > > > = > >
322
anonymous, Were You Ever in Rio Grand 323 Nikolai Rimsky-Korsakov, Scheherezade (theme from third movement) Beethoven, opening movement from string quartet # 1 325 W.A. Mozart, trio from string quartet # 1 326 Franz Abt, Kathleen Aroon
324
94
Chapter IV. Other Diatonic Materials
327 //
Moderato
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> > > > > >
// > > > >
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// >>>>> >> > >>>> >> > >>>> > > >>>>> >> // > > > >>>> >> > >
328
/
> > > > > > > > : > : > : > > > > >> > > > > >> > Moderato con espressione
6 8
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/
> > > > >: >:
329 // > > : > =
327
= >>> > > >>>>> = ( >
anonymous, folk song (Germany) Caro Mio Ben
> > >> > > > >: >: > > > > > >:
> >: > =
328
> > > = > >>> > > > "
Thomas Moore, Love’s Young Dream
329
Attributed to Guiseppe Giordiano,,
IV-6. Other Perfect Fourths and Fifths
95
//
330 3
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331 //
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330
anonymous, R´emon (Louisiana)
96
331
anonymous, Juanita
Chapter IV. Other Diatonic Materials
332
H.S. Thompson, Lilly Dale
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333 /
2 4
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334 / > = W
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335 //
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anonymous 334 Giovanni Battista Pergolesi, aria from Stabat Mater Johannes Brahms, introduction, 1st symphony
335
= > > = > >
J.S. Bach, menuet II from cello suite # 2
IV-6. Other Perfect Fourths and Fifths
97
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Alla marcia
337 // >
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338 3 333 > > : > > : > > > > > > : > > > > > > : > > > > > > : > > : > > : > Moderato
333 > : > > : > : > > >: > =: > * ( > > 3 > > : > > > > >> > > >: >> > / 339 //
337
> > >> > > >> > > >> > >> > > >> > > > : > >
Zaertlich und lebhaft 6 8
anonymous, processional march song (Germany) Sch¨ onste Sch¨ af ’rin Mein
98
338
Darius Milhaud, Chant de Sion
Chapter IV. Other Diatonic Materials
339
anonymous, Sagt Mir, O
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340 3
In ruhigem Zeitmass und teilnehmend erzaehlt 2 4
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341
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342
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IV-6. Other Perfect Fourths and Fifths
99
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3 4
G.F. Handel, Angels Ever Bright and Fair
100
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344
Beethoven, allegro from string quartet # 6
Chapter IV. Other Diatonic Materials
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale
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347
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348
W.A. Mozart, andante un poco allegretto from string
IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale
101
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102
Chapter IV. Other Diatonic Materials
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Chapter V
Nondiatonic Materials V-1 Secondary Dominants and Chromatic Passing Tones
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351
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352
Who Got Dirt on the
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353
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104
354
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Chapter V. Nondiatonic Materials
355
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V-1. Secondary Dominants and Chromatic Passing Tones
105
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106
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Chapter V. Nondiatonic Materials
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364
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V-1. Secondary Dominants and Chromatic Passing Tones
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108
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Chapter V. Nondiatonic Materials
368
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369
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V-1. Secondary Dominants and Chromatic Passing Tones
109
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Chapter V. Nondiatonic Materials
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376
V-1. Secondary Dominants and Chromatic Passing Tones
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111
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112
379
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Chapter V. Nondiatonic Materials
380
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V-1. Secondary Dominants and Chromatic Passing Tones
113
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114
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Chapter V. Nondiatonic Materials
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385
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V-1. Secondary Dominants and Chromatic Passing Tones
115
V-2 Blue Notes
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anonymous, The Graveyard (South Carolina) 387 anonymous, Roll, Jordan, Roll (United States) Cyclone at Ryecove (Missouri) 389 James Reese Europe, Goodnight Angeline
116
Chapter V. Nondiatonic Materials
388
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V-2. Blue Notes
117
V-3 Relative Minor and Major
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393 3333
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anonymous, Schwesterlein 392 anonymous, Es Ritt ein Ritter 393 anonymous, Cradle Song (Sweden) Chorale, ‘Befiehl du deine Wege’ 395 J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’
118
Chapter V. Nondiatonic Materials
394
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396
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398
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396
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397
J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’
V-3. Relative Minor and Major
398
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119
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120
Chapter V. Nondiatonic Materials
> > = > >:
Chapter VI
The C Clef This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicates middle C. In modern music, the C clef is used almost exclusively for the viola, but it will also be encountered in older scores, both vocal and instrumental, as an equally important companion to the treble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given with C placed at the middle line. Sight-singing from the C clef is not difficult, because one merely follows the usual procedure of determining which line or space on the staff represents ‘do,’ and reading all other notes relative to it. A trick for instrumentalists is to imagine that the middle line is really the ledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and the bottom two to the bass clef. (The same trick can be handy for vocalists when using the key signature to find the tonic on the staff.)
399 =
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anonymous, The Ash Grove (Wales)
402
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403
folk song
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404
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anonymous, Wach’ Auf, Mein Hort from The Planets
122
405
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Chapter VI. The C Clef
406
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411
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412 > : > > > : > > > > > > < > > > > > > > > > > > > > > > < > > > 413
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407
folk song 408 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 409 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’ 410 Franz Joseph Haydn, finale, London symphony 411 anonymous, Every Hour in the Day (Georgia) 412 anonymous, lullabye (Russia) 413 anonymous, Feinsliebchen, Du Sollst
123
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414
F. Nicholls Crouch, Kathleen Mavourneen
124
Chapter VI. The C Clef
Thematic Index ddddddtl — p. 22, no. 49 dddddrmf — p. 21, no. 46 dddddtdr — p. 23, no. 50 ddddmdss — p. 90, no. 310 ddddmfsl — p. 55, no. 173 ddddmsff — p. 37, no. 108 ddddffff — p. 40, no. 123 ddddslsd — p. 30, no. 76 ddddsltd — p. 22, no. 47; p. 22, no. 48 ddddtltd — p. 23, no. 51 ddddttss — p. 114, no. 384 dddrrrmd — p. 42, no. 130 dddrrmmf — p. 19, no. 29; p. 121, no. 400 dddmdsmm — p. 57, no. 185; p. 123, no. 411 dddmmssm — p. 87, no. 300 dddmssll — p. 71, no. 237 dddsmmrd — p. 61, no. 205 dddsllls — p. 69, no. 229 dddsltdt — p. 103, no. 350 ddrdmfss — p. 31, no. 81 ddrrmmrd — p. 30, no. 77 ddrmrdrr — p. 28, no. 69 ddrmrrmr — p. 97, no. 334 ddrmrmfm — p. 48, no. 156 ddrmmrdf — p. 73, no. 246 ddrmmmfs — p. 26, no. 57 ddrmmfsl — p. 88, no. 302 ddrmfsss — p. 38, no. 112 ddrmfssl — p. 71, no. 241 ddmrdrrm — p. 29, no. 72 ddmmrmdd — p. 27, no. 62 ddmmmdts — p. 38, no. 116 ddmsslls — p. 75, no. 258 ddmsltdt — p. 57, no. 183 ddsdrmfs — p. 85, no. 294 ddtdrdrm — p. 25, no. 55 ddtlsdrm — p. 37, no. 111; p. 71, no. 235 ddtltdrm — p. 99, no. 342 ddtltlls — p. 25, no. 52 drddtdrm — p. 20, no. 36 drdrdrmr — p. 53, no. 161 drdrmfss — p. 32, no. 83 drdtdsdr — p. 94, no. 324 drdtlsls — p. 19, no. 32 drmdddrm — p. 44, no. 141 drmdrmrm — p. 56, no. 179
125
drmrdtdr — p. 53, no. 167 drmrmfmf — p. 19, no. 28; p. 121, no. 399 drmrmfsf — p. 19, no. 31 drmrfmrt — p. 109, no. 370 drmrsdrs — p. 60, no. 197 drmmmrfm — p. 91, no. 312 drmmmmsm — p. 30, no. 74 drmmmsrr — p. 45, no. 143 drmmfmfs — p. 21, no. 45 drmmfsds — p. 58, no. 189 drmmflss — p. 71, no. 236 drmfrmdm — p. 61, no. 207 drmfmrdt — p. 53, no. 165 drmfmrmf — p. 20, no. 37 drmfmfsl — p. 21, no. 44 drmfsmfs — p. 47, no. 153 drmfsfmr — p. 54, no. 172 drmfsfsl — p. 101, no. 345 drmfssfm — p. 39, no. 120 drmfsssf — p. 20, no. 33 drmfslsf — p. 53, no. 162 drmfslss — p. 60, no. 201 drmfslsl — p. 54, no. 169; p. 54, no. 171 drmfsltd — p. 19, no. 27 drssmddf — p. 79, no. 272 dmddmssl — p. 57, no. 180 dmdmsffm — p. 28, no. 68 dmdsdmsd — p. 27, no. 59 dmdslfmf — p. 112, no. 380 dmdtdrmm — p. 58, no. 187 dmrdmfst — p. 63, no. 215 dmrdssms — p. 33, no. 87 dmrsdmrs — p. 60, no. 198; p. 123, no. 412 dmrtdmrt — p. 81, no. 276 dmmmrfff — p. 67, no. 222 dmmflssm — p. 76, no. 260 dmfssrss — p. 46, no. 151 dmsdmssm — p. 33, no. 84 dmsdlsdd — p. 70, no. 233 dmsdtdrm — p. 59, no. 190 dmsrdrmm — p. 47, no. 152 dmsmrflf — p. 101, no. 348 dmsmmddt — p. 62, no. 210 dmsmfrfr — p. 96, no. 330 dmsmslsf — p. 56, no. 177 dmsfslsf — p. 103, no. 352 dmssdtrr — p. 70, no. 234 dmssdtls — p. 28, no. 66
126
Chapter VI. The C Clef
dmsssmfs — p. 27, no. 60 dmssssfm — p. 102, no. 349 dmsslfsd — p. 69, no. 231 dmssltds — p. 95, no. 327 dmslsddr — p. 36, no. 100 dmslsmss — p. 37, no. 105 dsdrmfsf — p. 57, no. 181 dsdsdsdm — p. 35, no. 94 dsdtdsmr — p. 60, no. 196 dsmdrmrt — p. 116, no. 389 dsmdslsm — p. 56, no. 175 dsmdslst — p. 83, no. 285 dsmrdrmd — p. 57, no. 182 dsmrdrmf — p. 27, no. 63; p. 123, no. 408 dsmrdlsf — p. 83, no. 284 dsmrmfmr — p. 104, no. 355 dsmsmdrm — p. 40, no. 125 dsfmddsf — p. 59, no. 195 dssdddfl — p. 118, no. 393 dssdlllt — p. 77, no. 263 dssfrdtl — p. 86, no. 295; p. 90, no. 309 dssfsfmr — p. 78, no. 268 dsssslls — p. 48, no. 159 dsslsmrd — p. 59, no. 191 dsslsfmd — p. 35, no. 96 dssltddm — p. 38, no. 113 dslsfmrd — p. 82, no. 281 dsltdrms — p. 107, no. 364 dsltdmfs — p. 34, no. 93 dtddddrm — p. 56, no. 174 dtdrrdrm — p. 20, no. 34; p. 42, no. 132 dtdrmfsl — p. 53, no. 164 dtdrmsfm — p. 111, no. 374 dtdrmslt — p. 101, no. 347 dtfmdsls — p. 84, no. 289 dtlsfmrd — p. 54, no. 168 dtlsfmms — p. 71, no. 238 dtlslsfm — p. 72, no. 245; p. 95, no. 329 rddrmrdr — p. 53, no. 163 rmfsdmrd — p. 45, no. 144 rsdsdddd — p. 74, no. 252 mdrmfsfm — p. 47, no. 155 mdrmfsss — p. 97, no. 335 mdmrdtrs — p. 63, no. 214 mdmrsmrd — p. 59, no. 192 mdmfmrdl — p. 83, no. 283 mrdddttl — p. 28, no. 70 mrddrdrm — p. 93, no. 321
127
mrddrdtd — p. 36, no. 104; p. 123, no. 409 mrddmmsr — p. 61, no. 204 mrdrddms — p. 76, no. 259 mrdrmrdm — p. 93, no. 320 mrdrsmdr — p. 39, no. 118 mrdmrddl — p. 69, no. 232 mrdmssms — p. 34, no. 91 mrdsfmdt — p. 119, no. 398; p. 124, no. 414 mrdslsfm — p. 57, no. 186 mrdslslf — p. 94, no. 326 mrdslstr — p. 46, no. 149; p. 122, no. 405 mrdtdrmr — p. 21, no. 43 mrrdsmmr — p. 88, no. 303 mrmdmfss — p. 33, no. 86 mrmfmrds — p. 60, no. 200 mrmfmrsf — p. 43, no. 137 mrmfssmr — p. 27, no. 64 mrmsdrrl — p. 108, no. 367 mrfmlsmr — p. 92, no. 316 mmdrsmdm — p. 42, no. 135 mmrddrrm — p. 31, no. 78 mmrdtdrd — p. 38, no. 114 mmrmstls — p. 118, no. 395 mmmrdddd — p. 117, no. 390 mmmrdrmr — p. 94, no. 322 mmmfmmrr — p. 42, no. 131 mmfssfmr — p. 19, no. 30 mmslslsl — p. 111, no. 377 mfrdrmfs — p. 75, no. 257 mfrmdlsf — p. 84, no. 290 mfmrdmfs — p. 25, no. 54 mfmmrdtd — p. 53, no. 166 mfsmdttd — p. 67, no. 224 mfsmrtds — p. 39, no. 119; p. 121, no. 402 mfsmmrdl — p. 96, no. 332 mfsmfsmr — p. 73, no. 249 mfssfmrr — p. 25, no. 56 mfssfsls — p. 103, no. 351 mfsssfsl — p. 107, no. 363 mfsssssm — p. 39, no. 117 mfsssssl — p. 48, no. 157 mfssltdt — p. 110, no. 372 mfslsmrd — p. 94, no. 323 mfslsffs — p. 77, no. 265 msrsmdtd — p. 81, no. 278 msmdrmsm — p. 29, no. 73 msmrdsfm — p. 89, no. 305 msmfmrdm — p. 116, no. 386
128
Chapter VI. The C Clef
msmffflf — p. 76, no. 261 msmsslfl — p. 69, no. 228 msmlmsml — p. 92, no. 317 msfmslsm — p. 72, no. 244 msssffmm — p. 38, no. 115 mtrddrmr — p. 68, no. 226 ffdddtdr — p. 118, no. 392 fslsfmfs — p. 79, no. 271 sdddddrr — p. 47, no. 154; p. 121, no. 403 sddddrrr — p. 45, no. 145 sddddmrd — p. 116, no. 387 sddddtdr — p. 84, no. 292 sddddtss — p. 101, no. 346 sdddmddm — p. 31, no. 79 sdddslss — p. 41, no. 127 sdddlssd — p. 72, no. 243 sdddtdrs — p. 26, no. 58 sddrmfsl — p. 99, no. 341 sddrtddm — p. 91, no. 313 sddmdtls — p. 89, no. 304 sddmrdls — p. 98, no. 337 sddmmssm — p. 43, no. 136; p. 123, no. 407 sddtlslr — p. 100, no. 343 sddtlslf — p. 83, no. 286 sdrdsdrm — p. 59, no. 193 sdrmdmmr — p. 37, no. 106 sdrmdsrd — p. 69, no. 230 sdrmrdrm — p. 27, no. 65 sdrmmfmd — p. 28, no. 67; p. 87, no. 298 sdrmmffs — p. 61, no. 208 sdrmfrdt — p. 63, no. 217 sdrmfmfs — p. 48, no. 158 sdrmfsdr — p. 81, no. 277 sdrmsssl — p. 105, no. 357 sdrsdrmr — p. 67, no. 225 sdmdmdmr — p. 98, no. 339 sdmdtlsd — p. 104, no. 353 sdmrdrms — p. 35, no. 97 sdmrfmrd — p. 98, no. 338 sdmmmmrm — p. 75, no. 255 sdmmfmrr — p. 112, no. 379 sdmsdmsd — p. 118, no. 391 sdmsrmld — p. 94, no. 325 sdmsfmdd — p. 71, no. 239; p. 121, no. 401 sdmssdms — p. 44, no. 139; p. 122, no. 404 sdsdrmrr — p. 42, no. 134 sdtdrmfs — p. 67, no. 223 sdtdrlrd — p. 92, no. 315
129
sdtdlsdr — p. 77, no. 266; p. 97, no. 336 sdtlsfsr — p. 63, no. 216; p. 118, no. 394 sdtlssls — p. 41, no. 128 sdtlslsf — p. 110, no. 373 sdtltdtl — p. 93, no. 319 srmtdrrs — p. 68, no. 227 smdrssdd — p. 75, no. 254 smdsslsd — p. 40, no. 124 smdlssfs — p. 104, no. 356 smrdrmfr — p. 73, no. 248 smrdsmrd — p. 34, no. 92 smrdslff — p. 74, no. 253 smrdtlds — p. 34, no. 90; p. 90, no. 311 smrdttdl — p. 88, no. 301 smrrdmrs — p. 39, no. 122; p. 122, no. 406 smrmdsss — p. 81, no. 279 smrmrtdd — p. 62, no. 213 smrmfmrl — p. 104, no. 354 smmddtrm — p. 71, no. 240 smmrrddt — p. 99, no. 340 smmrrmmd — p. 65, no. 221 smmrsdtd — p. 114, no. 383 smmmrddd — p. 27, no. 61 smmmmrrr — p. 86, no. 297 smmmmfmr — p. 108, no. 368 smmfrrdr — p. 36, no. 102 smfrrrmf — p. 35, no. 95 smfsddtt — p. 29, no. 71 smfsdrmf — p. 113, no. 381 smfslsmd — p. 56, no. 178 smfslsfm — p. 119, no. 397 smsmrdmr — p. 33, no. 88; p. 34, no. 89 smsfmrsf — p. 64, no. 219 smslssmd — p. 33, no. 85; p. 43, no. 138 sfrfmdss — p. 44, no. 142; p. 123, no. 410 sfmdrldl — p. 95, no. 328 sfmrrdtl — p. 20, no. 39 sfmmrdrd — p. 100, no. 344 sfmmrrmf — p. 96, no. 331 sfmmmmfm — p. 73, no. 247 sfmmsdsm — p. 46, no. 148 sfmfmmfs — p. 21, no. 41 sfmfsdrd — p. 25, no. 53 sfmfsldt — p. 78, no. 269 sfmfsltd — p. 77, no. 264 sfmsmrrd — p. 113, no. 382 sfmsmsmf — p. 112, no. 378 sfmsfmrd — p. 31, no. 80; p. 87, no. 299; p. 109, no. 369
130
Chapter VI. The C Clef
sfslsfss — p. 61, no. 203 sflsftrd — p. 108, no. 366 ssdddtdr — p. 60, no. 202; p. 82, no. 280 ssdddttd — p. 77, no. 262 ssddrmrd — p. 44, no. 140 ssddmrtd — p. 72, no. 242 ssddssmm — p. 107, no. 365 ssddsldr — p. 78, no. 270 ssddtddr — p. 119, no. 396; p. 123, no. 413 ssdrdtdr — p. 37, no. 110 ssdrmmmm — p. 109, no. 371 ssdmrdrm — p. 84, no. 291 ssdmrdtl — p. 82, no. 282 ssdmmfsm — p. 80, no. 275 ssdmsfmf — p. 35, no. 99 ssdsmmsm — p. 36, no. 103 ssdssmmr — p. 46, no. 147 ssdtdrdt — p. 111, no. 376 ssdtrddt — p. 89, no. 307 ssdtfmsm — p. 46, no. 150 ssmdddrm — p. 62, no. 211 ssmddtll — p. 39, no. 121 ssmdsfrm — p. 59, no. 194 ssmrddtd — p. 86, no. 296 ssmrdrdd — p. 105, no. 358 ssmrdssf — p. 74, no. 251 ssmrdtdr — p. 62, no. 212 ssmmmddd — p. 41, no. 129 ssmmmddt — p. 106, no. 360 ssmmssrr — p. 41, no. 126 ssfmmrdr — p. 74, no. 250 sssddmms — p. 89, no. 308 sssdmsss — p. 60, no. 199 sssmrmdr — p. 42, no. 133 sssmfsls — p. 78, no. 267 sssffmmm — p. 37, no. 107 ssssdsss — p. 37, no. 109; p. 83, no. 287 ssssssss — p. 30, no. 75; p. 106, no. 359 sssslsmm — p. 116, no. 388 sssslssd — p. 61, no. 206 ssslsssf — p. 54, no. 170 sslddsfm — p. 75, no. 256 sslsmsss — p. 106, no. 361 sslsfmrd — p. 56, no. 176 sslsfmrl — p. 97, no. 333 sslsfmmf — p. 63, no. 218 sslsffmm — p. 62, no. 209 ssltddtl — p. 20, no. 38
131
ssltdtdr — p. 32, no. 82 ssltdtdt — p. 20, no. 35 ssltdttt — p. 57, no. 184 sstrddrd — p. 45, no. 146 slsmdsls — p. 36, no. 101 slsmrddt — p. 84, no. 288 slsffmmr — p. 21, no. 42 slssddrm — p. 35, no. 98 slslsdtd — p. 64, no. 220 slslsssd — p. 89, no. 306 sltdrmrm — p. 21, no. 40 sltdmmrd — p. 107, no. 362 strsfmfs — p. 85, no. 293 stlsmfsd — p. 111, no. 375 lmrdsdrm — p. 80, no. 274 lmsltddt — p. 93, no. 318 lsslssls — p. 58, no. 188 tdmddrfr — p. 49, no. 160
132
Chapter VI. The C Clef
Index ’Tis Me, O Lord, 117 ¨ Annchen von Tharau, 35 Absent Davie, 34 Abt, Franz Kathleen Aroon, 94 Ach, Englische Schaeferin, 99 adagio poco cantabile from string quartet, Op. 73, #3, Franz Joseph Haydn, 109 Adelphi School Song, 114 Adieu, Bonne Hˆotesse, 81 After the Ball, Charles K. Harris, 92 Ah Mon Beau Chˆateau, 35 Ah, Suzette, Ch`ere, 46 Ainsi Font, Font, Font, 36 Allan Maclean, 107 allegro from Eine kleine Nachtmusik, W.A. Mozart, 35 Alouette (rhythm only), , 15 Am Feierabend, Franz Schubert, 62 Amarilli, Mia Bella, Giulio Carcini, 68 America the Beautiful, Katharine Lee Bates, 41 andante un poco allegretto from string quartet # 5, W.A. Mozart, 101 Angel de Mis Amores, 62 Angel of Peace, M. Keller, 105 Angels Ever Bright and Fair, G.F. Handel, 100 Annie Laurie, 28 Arlequin Marie Sa Fille, 69 Arlequin Tient Sa Boutique, 42 As-Tu Vu la Casquette?, 33 Ash Grove, The, 71, 121 Au Jardin de Mon P`ere, 71 Aura Lee, George Poulton, 92 Autrefois le Rat de Ville, 104 Aux Marches du Palais, 42 Avril, 78 Away in a Manger (rhythm only), , 15 Bach, J.S. Bourr´ee II from orchestral suite #2, 111 Chorale, ‘Befiehl du deine Wege’, 118 Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’, 118
Chorale, ‘Es ist gewisslich an der Zeit’, 28 Chorale, ‘Es spricht der Unweisen Mund wohl’, 37 Chorale, ‘Es steh’n vor Gottes Throne’, 58 Chorale, ‘Gib Dich Zufrieden und Sei Stille’, 119 Chorale, ‘Herr, nun lass in Friede’, 57 Chorale, ‘Herr, wie du willst, so schick’s mit mir’, 20, 42 Chorale, ‘Jesu, meiner Seelen Wonne’, 25 Chorale, ‘Liebster Jesu, wir sind hier’, 39 Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’, 39 Chorale, ‘Nun ruhen alle Walder’, 47 Chorale, ‘Nun sich der Tag geendet hat’, 61 Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion, 63 Chorale, ‘O Traurigkeit, o Herzeleid’, 62 Chorale, ‘Seelenbr¨autigam, Jesu, Gottes Lamm’, 25 Chorale, ‘Valet will ich dir geben’, 38 Chorale, ‘Von Gott will ich nicht lassen’, 63 Chorale, ‘W¨ar’ Gott Nicht Mit Uns Diese Zeit’, 99 Chorale, ‘Wenn wir in h¨ochsten N¨oten sein’, 48 Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’, 38 Gavotte II from cello suite # 5, 61 gavotte in G minor, 54 Invention 2, 101 melody from the notebook for Anna Magdalena, 60 Menuet I from orchestral suite #1, 112 menuet II from cello suite # 2, 97 minuet, 42 trio from Brandenburg concerto # 1, 84 Ballade de Roland, 42 Barbara Allan, 44 Bates, Katharine Lee America the Beautiful, 41 Bayly, T.H. Long, Long Ago, 88 Beautiful Angel, The, Pierre Latour, 20
Beautiful Bells, George Cooper, 108 Beautiful Isle of Somewhere, J.S. Fearis, 74 Beckoning the Chickens, Froebel, 33 Beckoning the Pigeons, Froebel, 32 Beethoven Ode to Joy, 19 opening movement from string quartet # 1, 94 opening theme of Symphony #3, 27 string quartet # 6, allegro, 100 Beggar Girl, The, 31 Beuttner, Nikolaus Es kam ein treuer Bote, 38 Bingo (rhythm only), , 13 Blue Juniata, The, M.D. Sullivan, 75 Bonnie Wee Window, 74 Bonniest Lass in a’ The Land, The, 70 Bourr´ee II from orchestral suite #2, J.S. Bach, 111 Bradbury, W.B. He Leadeth Me, 74 Braes O Yarrow, The, 77 Brahms, Johannes introduction, 1st symphony, 77, 97 Nachtwache 1, 63 Broadway Sights, W.H. Latham, 27 Brother, Guide Me Home, 37 Brother, Tell Me of the Battle, George F. Root, 108 Butterfield, J.A. When You and I Were Young, 105 Calinda, 76 Cangia, Cangia Tue Voglie, G.B. Fasolo, 71 Carcini, Giulio Amarilli, Mia Bella, 68 Carmela, 28, 87 Caro Mio Ben, Attributed to Guiseppe Giordiano,, 95 carol, 20 Caroline, 78 Chant de Sion, Darius Milhaud, 98 Chill Ether, 47 chorus from Judas Maccabaeus, G.F. Handel, 113 Come, Ye Disconsolate, Samuel Webbe, 104 Conkey, Ithamar God is Love, His Mercy Brightens, 104
134
Index
Cooper, George Beautiful Bells, 108 Cowboy’s Home Sweet Home, 76 Cradle Song, 88, 118 Crep´ usculo, 109 Crouch, F. Nicholls Kathleen Mavourneen, 119, 124 Crowell, B. a, 3/4, 53 A, 4/4, 34 a, 4/4, 53, 101 a, 6/8, 53 A[, 4/4, 21 B[, 3/4, 1, 34 B[, 4/4, 20 B[, 4/4, 1, 49 C, 3/4, 19, 21, 46, 121 c, 3/4, 56 C, 4/4, 19, 25, 121 c, 4/4, 56 C, 4/4, 1, 21 D[, 4/4, 21 E[, 3/4, 20 F, 2/4, 32 F, 3/4, 25 f, 4/4, 57 G, 3/4, 19, 25, 40 G, 4/4, 22, 26, 45 g, 4/4, 83 G, 6/8, 21 g, 9/8, 59 G[, 4/4, 21 Who Got Dirt on the Carpet Again?, 56, 103 Cruel Mother, The, 111 Cutler, H.S. Son of God Goes Forth to War, The, 29 Cyclone at Ryecove, 116 Da Unten Im Tale, 71 Danksagung an den Bach, Franz Schubert, 67 Dans la Forˆet Lointaine, 31 Dans le Port, Il Est Arriv´e, 107 Dans Notre Jardin, 45 Das Wandern, Franz Schubert, 46 Dearest Spot on Earth, The, W.T. Wrighton, 34 Derri`ere Chez Moi, 82
Devotion, Richard Strauss, 72 Diadem, J. Ellor, 81 Die Sonne Scheint Nicht Mehr, 80 Down in the Valley, 37 Duet from The Magic Flute, W.A. Mozart, 114 Duet No. 2, Menuet, from 12 Duets, K.V. 487, W.A. Mozart, 35, 115 Duke of Argyle’s Courtship, The, 48 Easy Winners, The, Scott Joplin, 111 Edwards, Gus In My Merry Oldsmobile, 112 Eli Yale, 41 Ellor, J. Diadem, 81 Emerson, L.O. Whither Through the Meadow?, 21 En Avant, Gr´enadiers, 62 En Revenant d’Auvergne, 30 Entendez-Vous Sur l’Ormeau, 30 Entre Vous Tous Gens de la Ville, 85 Erlaube Mir, Fein’s M¨adchen, 112 Es kam ein treuer Bote, Nikolaus Beuttner, 38 Es Ritt ein Ritter, 118 Europe, James Reese Goodnight Angeline, 116 Every Hour in the Day, 57, 123 Faded Coat of Blue, The, J.H. McNaughton, 108 Fairy Boat, The, Harold Samuel, 48 Fasolo, G.B. Cangia, Cangia Tue Voglie, 71 Fearis, J.S. Beautiful Isle of Somewhere, 74 Feinsliebchen, Du Sollst, 119, 123 finale, London symphony, Franz Joseph Haydn, 44, 123 Forget na’, dear Lassie, 57 Foster, S.C. Gentle Annie, 93 Foster, Stephen Hard Times Come Again No More, 30 Old Folks at Home, 69 Slumber My Darling, 93 Song of All Songs, The, 82 Froebel Beckoning the Chickens, 33 Beckoning the Pigeons, 32
Pat-a-Cake, 28 Wolf, The, 60 Gar Lieblich Hat Sich Gesellet, 48 Gardez Piti Milatte-l`a, 38 Gaudeamus Igitur, 77 Gavotte II from cello suite # 5, J.S. Bach, 61 gavotte in G minor, J.S. Bach, 54 Gentle Annie, S.C. Foster, 93 Gi`a il Sole dal Gange, Alessandro Scarlatti, 67 Giordiano,, Attributed to Guiseppe Caro Mio Ben, 95 Gladden, S.W. Mountains, The, 82 Go ’Way, Old Man, 41 Go Down, Moses, 65 God is Love, His Mercy Brightens, Ithamar Conkey, 104 God Speed the Right, 36 Gold Band, The, 73 Goldfaden, Abraham Raisins with Almonds, 102 Goodnight Angeline, James Reese Europe, 116 Graveyard, The, 116 Grieg e, 4/4, 67 Gunhilde, 99 Guten Abend, 60 Gwine Follow, 87 Gypsy Warning, The, 45 Hallowed Spot, The, 78 Halt, Franz Schubert, 39 Handel, G.F. Angels Ever Bright and Fair, 100 chorus from Judas Maccabaeus, 113 Hush ye pretty warbling quire from Acis and Galatea, 72 O Jordan, Sacred Tide from Esther, 64 Hanukah O Hanukah, 83 Hard Times Come Again No More, Stephen Foster, 30 Harris, Charles K. After the Ball, 92 Hawthorne, Alice Home, By and By, 31 Out of Work, 111 Haydn, Franz Joseph
Index
135
adagio poco cantabile from string quartet, Op. 73, #3, 109 finale, London symphony, 44, 123 introduction, London symphony, 75 menuet Oxford symphony, 39, 121 He Leadeth Me, W.B. Bradbury, 74 Here We Go Round the Mulberry Bush (rhythm only), , 16 Hess, C. Little Charley Went a Fishing, 86 Holst, Gustav Venus theme from The Planets, 39, 122 Home On the Range (rhythm only), , 15 Home, By and By, Alice Hawthorne, 31 Husband, John Revive Us Again, 36 Hush Little Baby (rhythm only), , 14 Hush ye pretty warbling quire from Acis and Galatea, G.F. Handel, 72 Hush, My Babe, J.J. Rousseau, 31 I Ride an Old Paint, 72 I Want To Be Ready, 71 I’m a Pilgrim, 44 I’m In Trouble, 75 I’ve Been Working on the Railroad (rhythm only), , 15 If with all your hearts ye truly seek me from Elijah, Felix Mendelssohn, 88 If Ye Love Me, Thomas Tallis, 73 If Your Foot Is Pretty, Show It, 40 In My Merry Oldsmobile, Gus Edwards, 112 introduction, 1st symphony, Johannes Brahms, 77, 97 introduction, London symphony, Franz Joseph Haydn, 75 Invention 2, J.S. Bach, 101 Jehovah, Hallelujah, 69 Jenny Lind Mania, The, W.H.C. West, 71 Jimmy Crack Corn (rhythm only), , 14 Jingle Bells (rhythm only), , 14 Joplin, Scott Easy Winners, The, 111 The Entertainer (rhythm only), 16 Juanita, 96 Jungfr¨aulein, Soll Ich Mit Euch Gehn, 45 Kathleen Aroon, Franz Abt, 94
136
Index
Kathleen Mavourneen, F. Nicholls Crouch, 119, 124 Keller, M. Angel of Peace, 105 Kevin Barry, 103 Krambambuli, 41 la Claire Fontaine, A, 27 Lang Johnny More, 70 Latham, W.H. Broadway Sights, 27 Latour, Pierre Beautiful Angel, The, 20 Lawlan’ Jenny, 29 Let God’s Saints Come In, 106 Lewis, L.R. a, 3/4, 53 a, 4/4, 53, 55 B, 3/4, 20 B[, 4/4, 20, 23 C, 4/4, 22 C, 6/8, 23 d, 3/2, 54 d, 3/4, 54 d, 4/4, 54 Lightly Row, 36 Lilly Dale, H.S. Thompson, 96 Little Brown Jug (rhythm only), , 13 Little Charley Went a Fishing, C. Hess, 86 Lolotte, 61 Long, Long Ago, T.H. Bayly, 88 Love’s Young Dream, Thomas Moore, 95 lullabye, 60, 123 Luther, Martin Mighty Fortress Is Our God, A, 103 We Come Unto Our Father’s God, 29 M’ha Preso Alla Sua Ragna, Pier Domenico Paradies, 79 march from The Nutcracker (rhythm only), P.I. Tchaikovsky, 16 McNaughton, J.H. Faded Coat of Blue, The, 108 Media Noche, 110 melody from the notebook for Anna Magdalena, J.S. Bach, 60 Mendelssohn, Felix If with all your hearts ye truly seek me from Elijah, 88
Menuet I from orchestral suite #1, J.S. Bach, 112 menuet II from cello suite # 2, J.S. Bach, 97 menuet Oxford symphony, Franz Joseph Haydn, 39, 121 Mi Sue˜ no, 63 Mighty Fortress Is Our God, A, Martin Luther, 103 Milhaud, Darius Chant de Sion, 98 minuet, J.S. Bach, 42 Moore, Thomas Love’s Young Dream, 95 Mountains, The, S.W. Gladden, 82 Mozart, W.A. allegro from Eine kleine Nachtmusik, 35 andante un poco allegretto from string quartet # 5, 101 aria (Papageno) from ‘The Magic Flute’, 36, 123 aria from the Magic Flute, 106 Duet from The Magic Flute, 114 Duet No. 2, Menuet, from 12 Duets, K.V. 487, 35, 115 opening from clarinet quintet, 73 Osanna (bass solo, allegro) from Sanctus, Requiem, 84 string quartet # 1, adagio, 37 string quartet # 1, menuet, 87, 109 string quartet # 1, trio, 94 string quartet # 10, menuet, 78 string quartet # 15, menuet, 61 string quartet # 2, andante, 77 string quartet # 4, opening, 91 string quartet # 4, presto, 81 string quartet # 6, rondo, 81 string quartet # 7, presto, 90 string quartet # 8, menuet, 86, 90 theme from symphony in G minor, 58 Musieu Bainjo, 37 My Father, How Long?, 28 My Field, 59 My Lodging Is On the Cold Ground, 76 Nachtwache 1, Johannes Brahms, 63 Not Yet, Richard Strauss, 46 O Come, All Ye Faithful (rhythm only), , 13 O Daniel, 101
O Jordan, Sacred Tide from Esther, G.F. Handel, 64 O Little Town of Bethlehem (rhythm only), , 14 Ode to Joy, Beethoven, 19 Ojos Mexicanos, Los, 61 Old Folks at Home, Stephen Foster, 69 Old Hundred, 71 opening from clarinet quintet, W.A. Mozart, 73 opening movement from string quartet # 1, Beethoven, 94 opening theme of Symphony #3, Beethoven, 27 Ophelia’s Song, Maude Valerie White, 61 Orange and the Black, The, Frances Shackleton, 113 Osanna (bass solo, allegro) from Sanctus, Requiem, W.A. Mozart, 84 Our Baby, 42 Out of Work, Alice Hawthorne, 111 Paloma Blanca, La, 46, 122 Paradies, Pier Domenico M’ha Preso Alla Sua Ragna, 79 Pat-a-Cake, Froebel, 28 Pergolesi, Giovanni Battista aria from Stabat Mater, 97 Sancta Mater from Stabat Mater, 27, 123 tune from Stabat Mater, 74, 110 Poor Rosy, 33, 34 Pop Goes the Weasel (rhythm only), , 16 Poulton, George Aura Lee, 92 Praise, Member, 33, 43 processional march song, 98 Que No Te Amo, 84 Quinze Ans, A, 89 R´emon, 96 Ragion Sempre Addita, Alessandro Stradella, 107 Rain, Rain, Go Away (rhythm only), , 13 Raisins with Almonds, Abraham Goldfaden, 102 Rana, La, 91 Recouvrance, A, 27 Red River Valley, 75 Reir Es Necesario, 62, 89 Revive Us Again, John Husband, 36 Rimsky-Korsakov, Nikolai
Index
137
Scheherezade, 94 Rockabye Baby (rhythm only), , 15 Roll, Jordan, Roll, 116 Root, George F. Brother, Tell Me of the Battle, 108 Rosa Lee, 75 Rousseau, J.J. Hush, My Babe, 31 Row, Burnie, Row, H. Burgess Weston, 30 Row, Row, Row Your Boat (rhythm only), , 16 Sagt Mir, O Sch¨onste Sch¨af’rin Mein, 98 Samuel, Harold Fairy Boat, The, 48 Sancta Mater from Stabat Mater, Giovanni Battista Pergolesi, 27, 123 Scarlatti, Alessandro Gi`a il Sole dal Gange, 67 Su, Venite a Consiglio, 27 Sch¨onster Schatz, Mein Engel, 37 Scheherezade, Nikolai Rimsky-Korsakov, 94 Schubert, Franz Am Feierabend, 62 Danksagung an den Bach, 67 Das Wandern, 46 Halt, 39 Wohin?, 39 Schwesterlein, 118 Serenata, 37, 40 Shackleton, Frances Orange and the Black, The, 113 Ship That Never Returned, The, 79 Shoals Valedictory, 104 Shout On, Children, 38 Sing Hey to You, Good-Day to You, A.S. Sullivan, 93 Sinner Won’t Die No More, 73 Slumber My Darling, Stephen Foster, 93 Softly Now the Light of Day, C.M. von Weber, 92 Son of God Goes Forth to War, The, H.S. Cutler, 29 Song of All Songs, The, Stephen Foster, 82 Song of the Free, J.G. Whittier, 72 Speed Away Speed Away, I.B. Woodbury, 106 Stradella, Alessandro Ragion Sempre Addita, 107
138
Index
Strauss, Richard Devotion, 72 Not Yet, 46 string quartet # 1, adagio, W.A. Mozart, 37 string quartet # 1, menuet, W.A. Mozart, 87, 109 string quartet # 1, trio, W.A. Mozart, 94 string quartet # 10, menuet, W.A. Mozart, 78 string quartet # 15, menuet, W.A. Mozart, 61 string quartet # 2, andante, W.A. Mozart, 77 string quartet # 4, opening, W.A. Mozart, 91 string quartet # 4, presto, W.A. Mozart, 81 string quartet # 6, allegro, Beethoven, 100 string quartet # 6, rondo, W.A. Mozart, 81 string quartet # 7, presto, W.A. Mozart, 90 string quartet # 8, menuet, W.A. Mozart, 86, 90 Su, Venite a Consiglio, Alessandro Scarlatti, 27 Sullivan, A.S. E[, 6/8, 27 Sing Hey to You, Good-Day to You, 93 Take a Pair of Sparkling Eyes, 93 Sullivan, M.D. Blue Juniata, The, 75 Take a Pair of Sparkling Eyes, A.S. Sullivan, 93 Take Me Out to the Ball Game (rhythm only), , 14 Tallis, Thomas If Ye Love Me, 73 Tchaikovsky, P.I. march from The Nutcracker (rhythm only), 16 trepak from The Nutcracker (rhythm only), 15 waltz of the flowers from The Nutcracker (rhythm only), 15 The Entertainer (rhythm only), Scott Joplin, 16 The Itsy-Bitsy Spider (rhythm only), , 16 theme from symphony in G minor, W.A. Mozart, 58 This Old Man (rhythm only), , 14 Thompson, H.S. Lilly Dale, 96 Thou Poor Bird, 58 trepak from The Nutcracker (rhythm only), P.I. Tchaikovsky, 15
trio from Brandenburg concerto # 1, J.S. Bach, 84 Tristes Horas, Las, 60 Tu Eres Mas Bella, 43 Twinkle Twinkle, Little Star (rhythm only), , 13 Ubi Bene, Ibi Patria, 80 Upidee, 90 Valedictory, Shoals, 104 Venus theme from The Planets, Gustav Holst, 39, 122 Vivo Llorando la Suerte, 84 Vivo Penando, 107
Song of the Free, 72 Who Got Dirt on the Carpet Again?, B. Crowell, 56, 103 Widdecombe Fair, 89 Wild Moor, The, 77 Wohin?, Franz Schubert, 39 Wolf, The, Froebel, 60 Woodbury, I.B. Speed Away Speed Away, 106 Wrighton, W.T. Dearest Spot on Earth, The, 34 Ya Viene El Alba, 67
Wach’ Auf, Mein Hort, 44, 122 Walk, Shepherdess, Walk, 89 waltz of the flowers from The Nutcracker (rhythm only), P.I. Tchaikovsky, 15 We Come Unto Our Father’s God, Martin Luther, 29 We Three Kings (rhythm only), , 14 We Wish You a Merry Christmas (rhythm only), , 14 Webbe, Samuel Come, Ye Disconsolate, 104 Weber, C.M. von Softly Now the Light of Day, 92 Wedge, G.A. c, 2/4, 83 c, 3/4, 56, 60 f, 2/4, 57, 83 f, 3/4, 83 g, 2/4, 59 g, 3/4, 59, 60, 64 g, 4/8, 63 Were You Ever in Rio Grand, 94 West, W.H.C. Jenny Lind Mania, The, 71 Weston, H. Burgess Row, Burnie, Row, 30 When You and I Were Young, J.A. Butterfield, 105 White, Maude Valerie Ophelia’s Song, 61 Whither Through the Meadow?, L.O. Emerson, 21 Whittier, J.G.
Index
139
c Copyright °2004 Benjamin Crowell All rights reserved.
rev. October 16, 2004 Permission is granted to copy, distribute and/or modify this document under the terms of the Creative Commons Attribution Share-Alike License, which can be found at creativecommons.org. The book’s web site, www.lightandmatter.com/sight/sight.html, provides the book for downloading free of charge, and also gives further details about the copyrights of the individual melodies.
Brief Contents
I
Rhythm
13
I-1 Whole, Half, and Quarter Notes
13
I-2 3/4 Time, and Dotted Half-Notes I-3 Eighth Notes
14
I-4 Dotted Quarter Notes I-5 Sixteenth Notes
I-7 Compound Time
I-9 Triplets
II
2
14
15
I-6 Dotted Eighth Notes
I-8 Syncopation
14
15
16
16
16
Major Keys
17
II-1
Introduction to Solfeggio
17
II-2
Melodies Containing Only Steps
II-3
Leaps to ‘Do’
II-4
Leaps Back to Remembered Notes
25
II-5
Easy Leaps Within the Tonic Triad
27
II-6
The Leap of a Fifth Within the Tonic Triad
II-7
Leaps of a Sixth Within the Tonic Triad
II-8
Leaps Within the Dominant
II-9
Wider Leaps Within the Dominant
19
25
35 41
33
31
III
Minor Keys
51
III-1
Solfeggio in the Minor Mode
III-2
Steps
III-3
Leaps Within the Tonic Triad
III-4
Leaps Within the Dominant
IV
51
53 56 59
Other Diatonic Materials
67
IV-1
Leaps Between the Tonic and Dominant
IV-2
Leaps Within the Subdominant, Major Keys
IV-3
Wide Leaps Within the Subdominant
IV-4
Leaps Within the Subdominant, Minor Keys
IV-5
Leaps of a Seventh
IV-6
Other Perfect Fourths and Fifths
IV-7
The Diminished Seventh Chord, and the Harmonic Minor Scale
V
67 69
81 83
86 91
Nondiatonic Materials
103
V-1 Secondary Dominants and Chromatic Passing Tones V-2 Blue Notes
103
116
V-3 Relative Minor and Major
VI
101
The C Clef
118
121
3
Contents Syncopation . . . . . . . . . .16 I Rhythm . . . . . . . . .13 I-8 25 Joplin, rhythm of The Entertainer, 2/4 . . 16 I-1 Whole, Half, and Quarter Notes . . . . . . . . . . . . . . . .13 1 2 3 4 5
rhythm rhythm rhythm rhythm rhythm
of of of of of
Twinkle Twinkle, Little Star, 4/4 . Little Brown Jug, 4/4 . . . . . Bingo, 4/4 . . . . . . . . . . Rain, Rain, Go Away, 4/4 . . . . O Come, All Ye Faithful, 4/4 . .
13 13 13 13 13
I-2 3/4 Time, and Dotted HalfNotes . . . . . . . . . . . . . . . .14 6 rhythm of We Three Kings, 3/4. . . . . . 14 7 rhythm of Take Me Out to the Ball Game, 3/414
I-3 Eighth Notes . . . . . . . . .14 8 rhythm of O Little Town of Bethlehem, 4/4 . 9 rhythm of We Wish You a Merry Christmas, 3/4 . . . . . . . . . . . . . . . . . . 10 rhythm of This Old Man, 4/4 . . . . . . 11 rhythm of Hush Little Baby, 4/4 . . . . .
14 14 14 14
I-4 Dotted Quarter Notes . . . .14 12 13 14 15 16
rhythm rhythm rhythm rhythm rhythm
of of of of of
Jingle Bells, 4/4 . . . . Jimmy Crack Corn, 4/4 . Away in a Manger, 3/4 . Rockabye Baby, 3/4 . . Home On the Range, 3/4
. . . . .
. . . . .
. . . . .
14 14 15 15 15
I-5 Sixteenth Notes. . . . . . . .15 17 Tchaikovsky, rhythm of trepak from The Nutcracker, 2/4 . . . . . . . . . . . . . 15
I-6 Dotted Eighth Notes . . . . .15 18 rhythm of Alouette, 4/4 . . . . . . . . 15 19 Tchaikovsky, rhythm of waltz of the flowers from The Nutcracker, 3/4 . . . . . . . . . 15 20 rhythm of I’ve Been Working on the Railroad, 4/4 . . . . . . . . . . . . . . . 15
I-7 Compound Time . . . . . . .16 21 rhythm Bush, 6/8 22 rhythm 23 rhythm 24 rhythm
4
of . of of of
Here We Go Round the Mulberry . . . . . . . . . . . . . . The Itsy-Bitsy Spider, 6/8 . . . Pop Goes the Weasel, 6/8 . . . Row, Row, Row Your Boat, 12/8
16 16 16 16
I-9 Triplets. . . . . . . . . . . . .16 26 Tchaikovsky, rhythm of march from The Nutcracker, 4/4 . . . . . . . . . . . . . 16
II Major Keys. . . . .17 II-1 Introduction to Solfeggio . .17 II-2 Melodies Containing Only Steps . . . . . . . . . . . . . . . .19 27 C, 4/4 . . . . . . . . . . . . . . . 28 C, 4/4 . . . . . . . . . . . . . . . 29 C, 3/4 . . . . . . . . . . . . . . . 30 Beethoven, Ode to Joy, C, 4/4 . . . . . 31 G, 3/4 . . . . . . . . . . . . . . . 32 G, 3/4 . . . . . . . . . . . . . . . 33 carol (Bohemia), D, 4/4 . . . . . . . . 34 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’, A, 4/4 . . . . . . . . . 35 Latour, The Beautiful Angel, E, 6/8 . . . 36 Lewis, B, 3/4 . . . . . . . . . . . . 37 B[, 4/4 . . . . . . . . . . . . . . . 38 Lewis, B[, 4/4 . . . . . . . . . . . . 39 E[, 3/4 . . . . . . . . . . . . . . . 40 A[, 4/4 . . . . . . . . . . . . . . . 41 D[, 4/4 . . . . . . . . . . . . . . . 42 G[, 4/4 . . . . . . . . . . . . . . . 43 G, 6/8 . . . . . . . . . . . . . . . 44 C, 4/4, 1 . . . . . . . . . . . . . . 45 Emerson, Whither Through the Meadow?, C, 2/4, 1. . . . . . . . . . . . . . . . 46 C, 3/4 . . . . . . . . . . . . . . . 47 G, 4/4 . . . . . . . . . . . . . . . 48 Lewis, C, 4/4 . . . . . . . . . . . . 49 Lewis, C, 4/4 . . . . . . . . . . . . 50 Lewis, C, 6/8 . . . . . . . . . . . . 51 Lewis, B[, 4/4 . . . . . . . . . . . .
19 19 19 19 19 19 20 20 20 20 20 20 20 21 21 21 21 21 21 21 22 22 22 23 24
II-3 Leaps to ‘Do’ . . . . . . . .25 52 G, 3/4 . . . . . . . . . . . . . . . 25 53 F, 3/4 . . . . . . . . . . . . . . . 25
II-4 Leaps Back to Remembered Notes . . . . . . . . . . . . . . . .25
II-7 Leaps of a Sixth Within the Tonic Triad. . . . . . . . . . . . .33
54 C, 4/4 . . . . . . . . . . . . . . . 55 Bach, Chorale, ‘Seelenbr¨autigam, Jesu, Gottes Lamm’, A, 4/4 . . . . . . . . . . 56 Bach, Chorale, ‘Jesu, meiner Seelen Wonne’, A, 4/4. . . . . . . . . . . . . . . . . 57 G, 4/4 . . . . . . . . . . . . . . . 58 folk song, C, 3/4 . . . . . . . . . . .
84 As-Tu Vu la Casquette? (France), G, 2/4 . 85 Praise, Member (South Carolina), G, 2/4 . 86 Froebel, Beckoning the Chickens, F, 2/4. . 87 folk song, G, 2/4 . . . . . . . . . . . 88 Poor Rosy (South Carolina), G, 2/4 . . . 89 Poor Rosy (South Carolina), C, 2/4 . . . 90 Wrighton, The Dearest Spot on Earth, B[, 4/4 . . . . . . . . . . . . . . . . . . 91 Absent Davie (Scotland), D, 4/4 . . . . . 92 A, 4/4 . . . . . . . . . . . . . . . 93 B[, 3/4, 1 . . . . . . . . . . . . . .
25 25 25 26 26
II-5 Easy Leaps Within the Tonic Triad . . . . . . . . . . . . . . . .27 59 Beethoven, opening theme of Symphony #3 (‘Eroica’), E[, 3/4 . . . . . . . . . . . . 60 Scarlatti, Su, Venite a Consiglio, G, 3/4 . . 61 Latham, Broadway Sights, A, 6/8 . . . . 62 A la Claire Fontaine (France), F, 2/4 . . . 63 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater, G, 4/4. . . . . . . . . . . . . . 64 Sullivan, E[, 6/8 . . . . . . . . . . . 65 A Recouvrance (France), F, 4/4 . . . . . 66 Froebel, Pat-a-Cake, C, 12/8 . . . . . . 67 Carmela (Mexico), E[, 4/8 . . . . . . . 68 My Father, How Long? (Florida), F, 4/4 . 69 Bach, Chorale, ‘Es ist gewisslich an der Zeit’, B[, 4/4 . . . . . . . . . . . . . . . . 70 Annie Laurie, C, 4/4. . . . . . . . . . 71 Cutler, The Son of God Goes Forth to War, B[, 4/4 . . . . . . . . . . . . . . . . 72 Luther, We Come Unto Our Father’s God, G, 4/4. . . . . . . . . . . . . . . . . 73 Lawlan’ Jenny (Scotland), D, 3/4 . . . . 74 Foster, Hard Times Come Again No More, E[, 4/4 . . . . . . . . . . . . . . . . 75 Weston, Row, Burnie, Row, E[, 2/4 . . . 76 En Revenant d’Auvergne (France), B[, 2/4. 77 Entendez-Vous Sur l’Ormeau (France), F, 4/4, 1 . . . . . . . . . . . . . . . . .
27 27 27 27 27 27 28 28 28 28 28 29 29 29 29 30 30 30 30
II-6 The Leap of a Fifth Within the Tonic Triad . . . . . . . . . .31 78 79 80 81 82 83
Rousseau, Hush, My Babe, F, 2/4 . . . Dans la Forˆet Lointaine (France), F, 2/4. The Beggar Girl (England), F, 6/8 . . . Hawthorne, Home, By and By, F, 4/4. . Froebel, Beckoning the Pigeons, G, 3/8 . F, 2/4 . . . . . . . . . . . . . .
. . . . . .
31 31 31 31 32 32
33 33 33 33 33 34 34 34 34 34
II-8 Leaps Within the Dominant 35 94 Mozart, allegro from ‘Eine kleine Nachtmusik’, F, 4/4 . . . . . . . . . . . . . 95 Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487, G, 3/4 . . . . . . . . . 96 folk song, G, 3/4 . . . . . . . . . . . 97 Derri`er’ Chez Nous il y a Trois Fleurs (France), G, 2/4. . . . . . . . . . . . . ¨ 98 Annchen von Tharau (Germany), G, 3/4. . 99 Ah! Mon Beau Chˆateau! (France), A, 2/4 . 100 Ainsi Font, Font, Font (France), G, 2/4 . 101 Husband, Revive Us Again, C, 3/4 . . . 102 Lightly Row (Spain), F, 2/4 . . . . . . 103 God Speed the Right (Germany), C, 4/4 . 104 Mozart, aria (Papageno) from ‘The Magic Flute’, G, 2/4 . . . . . . . . . . . . . . 105 Sch¨onster Schatz, Mein Engel, D, 3/4 . . 106 Down in the Valley, C, 9/8 . . . . . . 107 Musieu Bainjo (Louisiana), G, 2/4 . . . 108 Brother, Guide Me Home (Tennessee), A, 4/4 . . . . . . . . . . . . . . . . . . 109 Serenata (California), B[, 2/2 . . . . . 110 Mozart, adagio from string quartet # 1, G, 3/4 . . . . . . . . . . . . . . . . . . 111 Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’, B[, 4/4 . . . . . . . . . . . 112 Beuttner, Es kam ein treuer Bote, F, 4/4 . 113 Bach, Chorale, ‘Valet will ich dir geben’, D, 4/4 . . . . . . . . . . . . . . . . . . 114 Bach, Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’, G, 4/4 . . . . . . . . . . . 115 Gardez Piti Milatte-l`a (Louisiana), B[, 4/4 116 Shout On, Children (Georgia), A, 2/4 . . 117 Schubert, Wohin?, G, 4/8 . . . . . . .
35 35 35 35 35 36 36 36 36 36 36 37 37 37 37 37 37 37 38 38 38 38 38 39
5
118 Bach, Chorale, ‘Liebster Jesu, wir sind hier’, G, 4/4. . . . . . . . . . . . . . . . . 119 Haydn, menuet Oxford symphony, G, 3/4 . 120 Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’, D, 4/4 . . . . . . . . . . . 121 Schubert, Halt!, C, 6/8 . . . . . . . . 122 Holst, Venus theme from The Planets, D, 3/4 . . . . . . . . . . . . . . . . . . 123 Serenata (California), B[, 2/2 . . . . . 124 If Your Foot Is Pretty, Show It (United States), D, 3/8 . . . . . . . . . . . . . 125 G, 3/4 . . . . . . . . . . . . . . .
39 39 39 39 39 40 40 40
II-9 Wider Leaps Within the Dominant . . . . . . . . . . . . .41 126 Bates, America the Beautiful, C, 4/4 . . 127 Eli Yale, B[, 2/4 . . . . . . . . . . . 128 Krambambuli, D[, 2/4 . . . . . . . . 129 Go ’Way, Old Man (Louisiana), E[, 3/4 . 130 Our Baby (France), A, 2/4 . . . . . . 131 Aux Marches du Palais (France), F, 6/8 . 132 Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’, A, 4/4 . . . . . . . . . 133 Bach, minuet, D[, 3/4 . . . . . . . . 134 Arlequin Tient Sa Boutique (France), A, 2/4 . . . . . . . . . . . . . . . . . . 135 Ballade de Roland (France), G, 6/8 . . . 136 folk song, G, 6/8 . . . . . . . . . . 137 Tu Eres Mas Bella (Costa Rica), F, 2/4 . 138 Praise, Member (South Carolina), G, 2/4 . 139 Wach’ Auf, Mein Hort, F, 6/8 . . . . . 140 Barbara Allan (Scotland), B, 4/4 . . . . 141 I’m a Pilgrim (Italy), G, 4/4 . . . . . . 142 Haydn, finale, London symphony, D, 4/4 . 143 Dans Notre Jardin (France), F, 2/4 . . . 144 The Gypsy Warning (Missouri), E[, 3/4 . 145 Jungfr¨aulein, Soll Ich Mit Euch Gehn, F, 4/4 . . . . . . . . . . . . . . . . . . 146 G, 4/4 . . . . . . . . . . . . . . . 147 Strauss, Not Yet, A[, 6/8 . . . . . . . 148 Ah, Suzette, Ch`ere (Louisiana), E[, 3/4 . 149 La Paloma Blanca (Arizona), F, 6/8 . . . 150 Schubert, Das Wandern, B[, 4/8 . . . . 151 C, 3/4 . . . . . . . . . . . . . . . 152 Chill Ether (Scotland), E[, 3/4 . . . . . 153 folk song, A[, 3/4 . . . . . . . . . . 154 folk song, A, 6/8 . . . . . . . . . .
6
41 41 41 41 42 42 42 42 42 43 43 43 43 44 44 44 44 45 45 45 45 46 46 46 46 46 47 47 47
155 Bach, Chorale, ‘Nun ruhen alle Walder’, B[, 4/4 . . . . . . . . . . . . . . . . . . 156 Bach, Chorale, ‘Wenn wir in h¨ochsten N¨oten sein’, G, 4/4 . . . . . . . . . . . 157 The Duke of Argyle’s Courtship (Scotland), D, 3/4. . . . . . . . . . . . . . . . . 158 Samuel, The Fairy Boat, G, 2/4 . . . . 159 Gar Lieblich Hat Sich Gesellet, F, 2/4 . . 160 B[, 4/4, 1 . . . . . . . . . . . . .
48 48 48 48 48 49
III Minor Keys . . . .51 III-1 Solfeggio in the Minor Mode . . . . . . . . . . . . . . . .51 III-2 Steps . . . . . . . . . . . . .53 161 162 163 164 165 166 167 168 169 170 171 172 173
a, 4/4 . . . . . . . . a, 6/8 . . . . . . . . a, 3/4 . . . . . . . . a, 3/4 . . . . . . . . Lewis, a, 4/4 . . . . . Lewis, a, 3/4 . . . . . Lewis, a, 3/4 . . . . . Lewis, d, 4/4 . . . . . Lewis, d, 4/4 . . . . . Lewis, d, 3/4 . . . . . Lewis, d, 3/2 . . . . . Bach, gavotte in G minor, Lewis, a, 4/4 . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . g, g/minor . . . . .
. . . . . . . . . . . . .
. . . . . . . . . . . . .
53 53 53 53 53 53 54 54 54 54 54 54 55
III-3 Leaps Within the Tonic Triad . . . . . . . . . . . . . . . .56 174 c, 4/4 . . . . . . . . . . . . . . . 56 175 c, 4/4 . . . . . . . . . . . . . . . 56 176 Wedge, c, 3/4. . . . . . . . . . . . 56 177 Who Got Dirt on the Carpet Again?, c, 4/456 178 c, 3/4 . . . . . . . . . . . . . . . 56 179 c, 4/4 . . . . . . . . . . . . . . . 56 180 Wedge, f, 2/4 . . . . . . . . . . . . 57 181 Wedge, f, 2/4 . . . . . . . . . . . . 57 182 Wedge, f, 2/4 . . . . . . . . . . . . 57 183 f, 4/4 . . . . . . . . . . . . . . . 57 184 Bach, Chorale, ‘Herr, nun lass in Friede’, a, 4/4 . . . . . . . . . . . . . . . . . . 57 185 Every Hour in the Day (Georgia), e, 2/4 . 57 186 Forget na’, dear Lassie (Scotland), a, 3/4 . 58 187 Bach, Chorale, ‘Es steh’n vor Gottes Throne’, g, 4/4 . . . . . . . . . . . . . 58
188 Mozart, theme from symphony in G minor, g, 4/4 . . . . . . . . . . . . . . . . . 58 189 Thou Poor Bird, c, 4/4, 1 . . . . . . . 58
III-4 Leaps Within the Dominant59 190 Wedge, g, 3/4. . . . . . . . . . . . 191 Wedge, g, 2/4. . . . . . . . . . . . 192 My Field (Russia), g, 4/4 . . . . . . . 193 g, 9/8 . . . . . . . . . . . . . . . 194 Wedge, g, 3/4. . . . . . . . . . . . 195 Wedge, g, 3/4. . . . . . . . . . . . 196 Wedge, c, 3/4. . . . . . . . . . . . 197 Bach, melody from the notebook for Anna Magdalena, g, 3/4 . . . . . . . . . . . . 198 lullabye (Russia), e[, 4/4 . . . . . . . 199 Las Tristes Horas, e, 2/4 . . . . . . . 200 Wedge, g, 3/4. . . . . . . . . . . . 201 Froebel, The Wolf, c, 4/8 . . . . . . . 202 Guten Abend, g, 3/8 . . . . . . . . . 203 Bach, Gavotte II from cello suite # 5, c, 12/8 . . . . . . . . . . . . . . . . . 204 Lolotte (Louisiana), c, 4/4 . . . . . . . 205 Mozart, menuet from string quartet # 15, d, 3/4 . . . . . . . . . . . . . . . . . 206 Los Ojos Mexicanos (Mexico), g, 2/4 . . 207 White, Ophelia’s Song, e, 4/4 . . . . . 208 Bach, Chorale, ‘Nun sich der Tag geendet hat’, a, 4/4. . . . . . . . . . . . . . . 209 Reir Es Necesario (Mexico), d, 2/4 . . . 210 En Avant, Gr´enadiers! (Louisiana), e[, 4/4 211 Angel de Mis Amores (Mexico), d, 2/4 . . 212 Schubert, Am Feierabend, a, 6/8 . . . . 213 Bach, Chorale, ‘O Traurigkeit, o Herzeleid’, a, 4/4 . . . . . . . . . . . . . . . . . 214 Brahms, Nachtwache 1, b, 4/4 . . . . . 215 Mi Sue˜ no (Mexico), c], 3/4 . . . . . . 216 Bach, Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion, d, 4/4 . 217 Bach, Chorale, ‘Von Gott will ich nicht lassen’, b, 4/4 . . . . . . . . . . . . . 218 Wedge, g, 4/8. . . . . . . . . . . . 219 Wedge, g, 3/4. . . . . . . . . . . . 220 Handel, aria ‘O Jordan, Sacred Tide’ from Esther, g, 3/4. . . . . . . . . . . . . . 221 Go Down, Moses (Unites States), g, 4/4 .
59 59 59 59 59 59 60 60 60 60 60 60 60 61 61 61 61 61 61 62 62 62 62 62 63 63 63 63 64 64 65 65
IV Other Diatonic Materials. . . . . . . . . .67 IV-1 Leaps Between the Tonic and Dominant . . . . . . . . . . .67 222 Ya Viene El Alba (California), G, 2/4 . . 67 223 Scarlatti, Gi`a il Sole dal Gange, A[, 3/4 . 67 224 Schubert, Danksagung an den Bach, G, 2/467 225 Grieg, e, 4/4 . . . . . . . . . . . . 67 226 zandunga folk song (Southern Mexico), e, 3/4 . . . . . . . . . . . . . . . . . . 68 227 Carcini, Amarilli, Mia Bella, g, 4/4 . . . 68
IV-2 Leaps Within the Subdominant, Major Keys . . . . . . . . .69 228 Jehovah, Hallelujah (South Carolina), F, 3/4 . . . . . . . . . . . . . . . . . . 69 229 Arlequin Marie Sa Fille (France), C, 3/4 . 69 230 folk song, F, 2/4. . . . . . . . . . . 69 231 folk song, F, 2/4. . . . . . . . . . . 69 232 Foster, Old Folks at Home, D, 4/4 . . . 70 233 Lang Johnny More (Scotland), F, 2/4 . . 70 234 The Bonniest Lass in a’ The Land (Scotland), C, 2/4 . . . . . . . . . . . . . . 70 235 Old Hundred, G, 4/4 . . . . . . . . . 71 236 Da Unten Im Tale, E[, 3/4 . . . . . . 71 237 I Want To Be Ready (United States), E[, 2/4 . . . . . . . . . . . . . . . . . . 71 238 Fasolo, Cangia, Cangia Tue Voglie, C, 2/4 71 239 The Ash Grove (Wales), F, 3/4 . . . . . 71 240 West, The Jenny Lind Mania (United States), G, 2/4 . . . . . . . . . . . . . 71 241 Au Jardin de Mon P`ere (France), F, 6/8 . 71 242 Strauss, Devotion, C, 4/4 . . . . . . . 72 243 I Ride an Old Paint (United States), D, 3/472 244 Whittier, Song of the Free, E[, 3/2 . . . 72 245 Handel, aria ‘Hush ye pretty warbling quire’ from Acis and Galatea, F, 3/8 . . . . . . . 72 246 Tallis, If Ye Love Me, F, f/major . . . . 73 247 Sinner Won’t Die No More (Tennessee), A, 4/4 . . . . . . . . . . . . . . . . . . 73 248 Mozart, opening from clarinet quintet, A, 4/4 . . . . . . . . . . . . . . . . . . 73 249 The Gold Band (Tennessee), G, 3/4 . . . 73 250 Pergolesi, tune from Stabat Mater, G, 4/4 74 251 Bonnie Wee Window (Arkansas), E, 6/8 . 74
7
252 Fearis, Beautiful Isle of Somewhere, A[, 6/874 253 Bradbury, He Leadeth Me, B, 4/4 . . . . 75 254 Sullivan, The Blue Juniata, F, 2/4 . . . 75 255 Red River Valley, E, 4/4 . . . . . . . 75 256 I’m In Trouble (Florida), C, 4/4. . . . . 75 257 Haydn, introduction, London symphony, D, 4/4 . . . . . . . . . . . . . . . . . . 75 258 Rosa Lee, A[, 2/4 . . . . . . . . . . 76 259 My Lodging Is On the Cold Ground, A, 6/876 260 Cowboy’s Home Sweet Home (Arkansas), G, 12/8 . . . . . . . . . . . . . . . . 76 261 Calinda (Louisiana), F, 6/8 . . . . . . 76 262 The Braes O Yarrow (Scotland), C, 3/4 . 77 263 Gaudeamus Igitur, G, 3/4 . . . . . . . 77 264 Mozart, andante from string quartet # 2, A, 3/4. . . . . . . . . . . . . . . . . 77 265 The Wild Moor (Missouri), B, 3/4 . . . 77 266 Brahms, introduction, 1st symphony, C, 4/4 . . . . . . . . . . . . . . . . . . 77 267 Caroline (Louisiana), G, 4/4 . . . . . . 78 268 Avril (France), E[, 6/8 . . . . . . . . 78 269 Mozart, menuet from string quartet # 10, C, 3/4. . . . . . . . . . . . . . . . . 78 270 The Hallowed Spot (Missouri), A[, 3/4. . 78 271 folk song (Russia), G, 2/4 . . . . . . . 79 272 The Ship That Never Returned (Missouri), A, 2/4. . . . . . . . . . . . . . . . . 79 273 Paradies, M’ha Preso Alla Sua Ragna, A[, 2/4 . . . . . . . . . . . . . . . . . . 80 274 Die Sonne Scheint Nicht Mehr, E, 4/4 . . 80 275 Ubi Bene, Ibi Patria, C, 6/8 . . . . . . 80
IV-3 Wide Leaps Within the Subdominant . . . . . . . . . . .81 276 Mozart, presto from string quartet # 4, C, 2/4 . . . . . . . . . . . . . . . . . . 277 Ellor, Diadem, B[, 3/4 . . . . . . . . 278 Mozart, rondo from string quartet # 6, B[, 2/4 . . . . . . . . . . . . . . . . . . 279 Adieu, Bonne Hˆotesse (France), F, 4/4. . 280 Derri`ere Chez Moi (France), F, 2/4 . . . 281 Foster, The Song of All Songs, F, 4/4 . . 282 Gladden, The Mountains, B[, 4/4 . . . .
81 81 81 81 82 82 82
IV-4 Leaps Within the Subdominant, Minor Keys . . . . . . . . .83 283 Wedge, f, 2/4 . . . . . . . . . . . . 83 284 Wedge, f, 3/4 . . . . . . . . . . . . 83
8
285 Wedge, c, 2/4. . . . . . . . . . . . 286 g, 4/4 . . . . . . . . . . . . . . . 287 Hanukah O Hanukah, d, 4/8, Presto . . . 288 Vivo Llorando la Suerte (Mexico), d, 2/4 . 289 Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem, D, 3/4 . . . . . . . . . 290 Bach, trio from Brandenburg concerto # 1, d, 3/4 . . . . . . . . . . . . . . . . 291 Que No Te Amo (Mexico), g, 4/4 . . . . 292 folk song (Russia), d, 4/4 . . . . . . . 293 folk song (Russia), f, 2/4 . . . . . . . 294 Entre Vous Tous Gens de la Ville (France), f, 3/4 . . . . . . . . . . . . . . . . .
83 83 84 84 84 84 84 85 85 85
IV-5 Leaps of a Seventh . . . . .86 295 Mozart, menuet from string quartet # 8, F, 3/4 . . . . . . . . . . . . . . . . . 86 296 Hess, Little Charley Went a Fishing, F, 6/8 86 297 folk song, A, 4/4 . . . . . . . . . . 86 298 Carmela (Mexico), E[, 4/8. . . . . . . 87 299 Mozart, menuet from string quartet # 1, C, 3/4. . . . . . . . . . . . . . . . . 87 300 Gwine Follow (South Carolina), A, 2/4 . . 88 301 Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah, E[, 3/4 . . . . . 88 302 Bayly, Long, Long Ago, D[, 4/4 . . . . 88 303 Cradle Song, F, 4/4 . . . . . . . . . 88 304 Widdecombe Fair (England), C, 3/4 . . . 89 305 Walk, Shepherdess, Walk (Arkansas), C, 4/4 . . . . . . . . . . . . . . . . . . 89 306 Reir Es Necesario (Mexico), F, 2/4 . . . 89 307 folk song (Russia), A, 3/4 . . . . . . . 89 308 A Quinze Ans (France), g, 6/8 . . . . . 89 309 Mozart, menuet from string quartet # 8, F, 3/4 . . . . . . . . . . . . . . . . . 90 310 Mozart, presto from string quartet # 7, E[, 2/4 . . . . . . . . . . . . . . . . . . 90 311 Upidee, G, 4/4 . . . . . . . . . . . 90
IV-6 Other Perfect Fourths and Fifths . . . . . . . . . . . . . . . .91 312 Mozart, opening from string quartet # 4, C, 4/4. . . . . . . . . . . . . . . . . 91 313 folk song, G, 2/4 . . . . . . . . . . 91 314 La Rana (Mexico), D, 3/4 . . . . . . . 92 315 Poulton, Aura Lee, F], 4/4 . . . . . . 92 316 Weber, Softly Now the Light of Day, A, 2/492 317 Harris, After the Ball, B[, 3/4 . . . . . 93
318 Sullivan, Take a Pair of Sparkling Eyes, F, 6/8 . . . . . . . . . . . . . . . . . . 93 319 Sullivan, Sing Hey to You, Good-Day to You!, G, 2/4 . . . . . . . . . . . . . . 93 320 Foster, Slumber My Darling, E[, 6/8. . . 93 321 Foster, Gentle Annie, E, 4/4 . . . . . . 93 322 Were You Ever in Rio Grand, B, 6/8. . . 94 323 Rimsky-Korsakov, Scheherezade (theme from third movement), C, 6/8 . . . . . . . 94 324 Beethoven, opening movement from string quartet # 1, F, 3/4 . . . . . . . . . . . 94 325 Mozart, trio from string quartet # 1, C, 3/494 326 Abt, Kathleen Aroon, G, 3/4 . . . . . . 94 327 folk song (Germany), D, 4/4 . . . . . . 95 328 Moore, Love’s Young Dream, G, 6/8. . . 95 329 Giordiano,, Caro Mio Ben, D, 4/4 . . . . 96 330 R´emon (Louisiana), F, 2/4. . . . . . . 96 331 Juanita, D, 3/4 . . . . . . . . . . . 96 332 Thompson, Lilly Dale, B[, 4/4 . . . . . 97 333 G, 2/4 . . . . . . . . . . . . . . . 97 334 Pergolesi, aria from Stabat Mater, G, 4/4. 97 335 Bach, menuet II from cello suite # 2, D, 3/4 . . . . . . . . . . . . . . . . . . 97 336 Brahms, introduction, 1st symphony, C, 4/4 . . . . . . . . . . . . . . . . . . 98 337 processional march song (Germany), D, 4/498 338 Milhaud, Chant de Sion, A[, 4/4 . . . . 98 339 Sagt Mir, O Sch¨onste Sch¨af’rin Mein, A, 6/8 . . . . . . . . . . . . . . . . . . 99 340 Gunhilde, F, 2/4 . . . . . . . . . . . 99 341 Ach, Englische Schaeferin, F, 3/4 . . . . 99 342 Bach, Chorale, ‘W¨ar’ Gott Nicht Mit Uns Diese Zeit’, C, 4/4 . . . . . . . . . . . . 99 343 Handel, Angels Ever Bright and Fair, E[, 4/4 . . . . . . . . . . . . . . . . . .100 344 Beethoven, allegro from string quartet # 6, B[, 3/4 . . . . . . . . . . . . . . .100
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale . . . . . . . . . . . . . . . .101 345 a, 4/4 . . . . . . . . . . . . . . .101 346 O Daniel (Florida), d, 4/4 . . . . . . .101 347 Bach, Invention 2, c, c/minor . . . . .101 348 Mozart, andante un poco allegretto from string quartet # 5, a, 4/4 . . . . . . . . .101 349 Goldfaden, Raisins with Almonds, a, 3/4, Lullabye . . . . . . . . . . . . . . . .102
V Nondiatonic Materials 103 V-1 Secondary Dominants and Chromatic Passing Tones . . . .103 350 Luther, A Mighty Fortress Is Our God, D, 4/4 . . . . . . . . . . . . . . . . . .103 351 Kevin Barry (Ireland), C, 3/4. . . . . .103 352 Who Got Dirt on the Carpet Again?, c, 4/4103 353 Conkey, God is Love, His Mercy Brightens, G, 3/4. . . . . . . . . . . . . . . . .104 354 Shoals, Valedictory, G, 4/4 . . . . . .104 355 Autrefois le Rat de Ville (France), G, 2/4 .104 356 Webbe, Come, Ye Disconsolate, B[, 2/2 .105 357 Keller, Angel of Peace, F, 4/4 . . . . .105 358 Butterfield, When You and I Were Young, C], 4/4 . . . . . . . . . . . . . . . .106 359 Woodbury, Speed Away! Speed Away!, A, 3/8 . . . . . . . . . . . . . . . . . .106 360 Mozart, aria from the Magic Flute, E[, 3/8106 361 Let God’s Saints Come In (Virginia), G, 2/4 106 362 Vivo Penando (California), F, 2/4 . . . .107 363 Allan Maclean (Scotland), G, 3/4 . . . .107 364 Stradella, Ragion Sempre Addita, A, 3/8 .107 365 Dans le Port, Il Est Arriv´e (France), G, 2/4107 366 Root, Brother, Tell Me of the Battle, D, 3/4 . . . . . . . . . . . . . . . . . .108 367 Cooper, Beautiful Bells, A[, 3/4 . . . .108 368 McNaughton, The Faded Coat of Blue, G, 4/4 . . . . . . . . . . . . . . . . . .108 369 Mozart, menuet from string quartet # 1, C, 3/4. . . . . . . . . . . . . . . . .109 370 Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’), G, 4/4 . . .109 371 Crep´ usculo (Mexico), D, 2/4 . . . . . .110 372 Media Noche (California), E[, 2/4. . . .110 373 Pergolesi, tune from Stabat Mater, f, 4/4 .110 374 Bach, Bourr´ee II from orchestral suite #2, b, 4/4 . . . . . . . . . . . . . . . . .111 375 The Cruel Mother (England), E[, 3/4 . .111 376 Hawthorne, Out of Work, A[, 4/4 . . . .111 377 Joplin, The Easy Winners, C, 2/4 . . . .112 378 Edwards, In My Merry Oldsmobile, G, 3/4 112 379 Erlaube Mir, Fein’s M¨adchen, F, 3/4. . .112 380 Bach, Menuet I from orchestral suite #1, G, 3/4. . . . . . . . . . . . . . . . .113
9
381 Handel, chorus from ‘Judas Maccabaeus’, C, 4/4. . . . . . . . . . . . . . . . .113 382 Shackleton, The Orange and the Black, B[, 4/4 . . . . . . . . . . . . . . . . . .114 383 Adelphi School Song, G, 4/4 . . . . . .114 384 Mozart, Duet from The Magic Flute, E[, 6/8 . . . . . . . . . . . . . . . . . .115 385 Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487, G, 3/4 . . . . . . . . .115
V-2 Blue Notes . . . . . . . . . .116 386 387 388 389 390
The Graveyard (South Carolina), F, 2/4 .116 Roll, Jordan, Roll (United States), D, 2/4 116 Cyclone at Ryecove (Missouri), A, 3/4 . .116 Europe, Goodnight Angeline, G, 4/4 . . .117 ’Tis Me, O Lord (Unites States), A[, 4/4 .117
V-3 Relative Minor and Major .118 391 Schwesterlein, g, 3/4 . . . . . . . . .118 392 Es Ritt ein Ritter, b, 6/8 . . . . . . .118 393 Cradle Song (Sweden), f, 2/4 . . . . .118 394 Bach, Chorale, ‘Befiehl du deine Wege’, b, 4/4 . . . . . . . . . . . . . . . . . .118 395 Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’, d, 4/4 . . . . . . . . . . .119 396 Feinsliebchen, Du Sollst, a, 2/4 . . . . .119
10
397 Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’, e, 4/4 . . . . . . . . . . . . . .119 398 Crouch, Kathleen Mavourneen, C, 3/4 . .120
VI The C Clef . . . .121 399 C, 4/4 . . . . . . . . . . . . . . .121 400 C, 3/4 . . . . . . . . . . . . . . .121 401 The Ash Grove (Wales), C, 3/4 . . . . .121 402 Haydn, menuet Oxford symphony, C, 3/4 .121 403 folk song, C, 6/8 . . . . . . . . . .122 404 Wach’ Auf, Mein Hort, C, 6/8 . . . . .122 405 La Paloma Blanca (Arizona), C, 6/8 . . .122 406 Holst, Venus theme from The Planets, G, 3/4 . . . . . . . . . . . . . . . . . .122 407 folk song, G, 6/8 . . . . . . . . . .123 408 Pergolesi, aria ‘Sancta Mater’ from Stabat Mater, F, 4/4 . . . . . . . . . . . . . .123 409 Mozart, aria (Papageno) from ‘The Magic Flute’, B[, 2/4 . . . . . . . . . . . . .123 410 Haydn, finale, London symphony, D, 4/4 .123 411 Every Hour in the Day (Georgia), a, 2/4 .123 412 lullabye (Russia), a, 4/4 . . . . . . . .123 413 Feinsliebchen, Du Sollst, a, 2/4 . . . . .124 414 Crouch, Kathleen Mavourneen, G, 3/4 . .124
Chapter I
Rhythm The rhythms in this chapter all come from well-known tunes. After reading them, you may want to look at the titles, which are given in the table of contents. If you’re working with a teacher, you may wish to clap the rhythm twice, with the teacher counting beats the first time, and singing the tune the second time.
I-1 Whole, Half, and Quarter Notes
1 >
>
>
2 >
>
=
>
3 > > > > > =
=
> > =
> >
> >
= =
> > > > =
=
> >
>
>
>
> > > >
> = =
> > > >
>
>
>
=
>
>
>
=
= =
> > > >
> > = =
>
4 = = > > = > > > > > > = > > > > > > = > > > > > > = 5 > = > > = = > > > > = > > = > > > > > > = > > <
1
2 , rhythm of Twinkle Twinkle, Little Star , rhythm of Little Brown Jug 5 Rain, Rain, Go Away , rhythm of O Come, All Ye Faithful
3
, rhythm of Bingo
4
, rhythm of
I-2 3/4 Time, and Dotted Half-Notes
6
3 4
=
7
3 4
=
=
>
>
=
=
>
>
>
=
=:
> > > >
> > >
> > >
=:
=:
=
>
=
=
>
> > >
>
> > >
=:
=:
=:
> > >
=:
=
>
I-3 Eighth Notes
8 > > > > > > > > > > > > > > =: > > > > > > > > > > > > > > =: 9
3 4
> > >>>> > > > > >>>> > > > > >>>> > > >> > > > =
10 > > = > > = > > > > > > > > > > > > > > > > > > = > > > > > > = 11 > > > > >
>
>
=
> > > > >
> >
>
>
=
I-4 Dotted Quarter Notes
12 > > = > > = > > > : > <
> > > > > > > >> > > > > > ( > (
13 > > > > : > > > > ( > > > > : > > > > ( > > > > : > > > > : > > > > > = 6
7 8 , rhythm of We Three Kings , rhythm of Take Me Out to the Ball Game , rhythm of O Little Town of 9 10 Bethlehem , rhythm of We Wish You a Merry Christmas , rhythm of This Old Man 11 , rhythm of Hush Little Baby 12 , rhythm of Jingle Bells 13 , rhythm of Jimmy Crack Corn
14
Chapter I. Rhythm
14 15 16
3 4
3 4
3 4
> >: > > > > > > > > = > >: > > > > > > > > =
>: > > =:
> > >
=
>
>: > >
> >: > =: =
=
>: > >
=:
=
>
=:
> > >
> > > > > =: = > : > > > > > > > > =: =:
>> =
>> > > >
=
I-5 Sixteenth Notes
17
2 4
> > > > >
> > > >
> > > > >
> > > >
>: > >: > > >
: > > > >
>: > >: > =
I-6 Dotted Eighth Notes
18 > : > > >
19
3 4
> > >
20 > :
=
>: > =:
> >: > >: >
=: =
> > > =
>:
> > >: > =
> >
>
= <
14
15 16 17 , rhythm of Away in a Manger , rhythm of Rockabye Baby , rhythm of Home On the Range P.I. 18 19 Tchaikovsky, rhythm of trepak from The Nutcracker , rhythm of Alouette P.I. Tchaikovsky, rhythm of waltz of the flowers from The Nutcracker 20 , rhythm of I’ve Been Working on the Railroad
I-5. Sixteenth Notes
15
I-7 Compound Time
21 22 23 24
6 8
6 8
6 8
12 8
> > > > > > > > > > > > > > > > > > >: > > > > > > > > > > > > > > >: >: > > > > > >: > > > > > > >: (: >: > > >: > > > > > > >:
> > > > > > > > > > > > > >: > > > > > > > > > > ( > ( > > >: >: >: >: > > >: > > > > >: >: > > > > > > > > > > > > > > > > >: >:
I-8 Syncopation
25
2 4
> >
> > > > > >
>
> > > >
> > > > > > >
>:
I-9 Triplets
26 > * > > > > * > * > * > * =
> * > > > > * > * > * > * > * +> >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > >: > > * > * 3
21
3
22 23 , rhythm of Here We Go Round the Mulberry Bush , rhythm of The Itsy-Bitsy Spider , rhythm of Pop 24 25 Goes the Weasel , rhythm of Row, Row, Row Your Boat Scott Joplin, rhythm of The Entertainer 26 P.I. Tchaikovsky, rhythm of march from The Nutcracker
16
Chapter I. Rhythm
Chapter II
Major Keys II-1 Introduction to Solfeggio The following syllables are traditionally used for the seven notes of the major scale.
<
<
< do
re
mi
<
<
<
<
fa
so
la
ti
< do
They originate from the Latin hymn Ut Queant Laxis, in which the first word of each successive musical phrase began on the next note of the scale.
This book uses the movable do system. In this system, ‘do’ is always the tonic, and the other syllables are assigned to the other notes according to their role in the key. In the key of D, for example:
/ / < do
< re
< mi
<
<
<
<
fa
so
la
ti
< do
This may seem confusing at first, but it’s the only system that makes sense to the ear. For instance, ‘ti’ is always a note with a tendency to move up a half-step to ‘do,’ the tonic. (There is also a fixed do system, in which ‘do’ is always C, ‘re’ is always D, and so on. The fixed do system is often taught to European schoolchildren, who don’t know enough music theory to recognize the roles of the different notes in relation to the tonic in a key that has sharps or flats.)
Sight singing is first and foremost a method of training your brain to understand relationships between musical notes, and is therefore an important component of musicianship even if you consider yourself primarily a composer or instrumentalist rather than a singer. For example, a jazz musician improvising a solo on the saxophone needs to be able to imagine a melody, and understand the relationship between the imagined pitches so as to be able to translate them into fingerings. The solfeggio syllables are a device for making the recognition of the relationships automatic.
Broadly speaking, there are two main approaches to learning solfeggio singing. One can learn to sing intervals, or to sing each note according to its role in the key. That is, we can hear each note in relation to the preceding note, or in relation to the tonic. Suppose, for example, that we’re singing a piece of music in the key of C major, and having just sung B, which is ‘ti,’ we see that the next note in the melody is C, which is ‘do.’ In the first approach, we recognize this as the interval of a half-step (minor second), so we move to the note a half-step above the one we’ve just sung. In the second technique, we know how to sing ‘do’ because of its special sound in relation to the key: it’s the tonic, the note that sounds like it would be a good one to end the song on. In reality, one doesn’t use either technique exclusively. We might as well ask Shakespeare what he does when he reads words: ‘Mr. Shakespeare, do you use phonics, or do you recognize whole words?’ A fluent reader is actually decoding patterns at a subconscious level, and the process is extremely rapid because most of the patterns are familiar.
Because the goal is rapid recognition of patterns at a subconscious level, one should not expect to become a fluent sight singer by artificial devices. For instance, many people learn to recognize the interval of a major sixth using a tune such as ‘My Bonnie Lies Over the Ocean’ or the NBC jingle. This is a good thing to learn, just as it’s good to learn that an E at the end of a word makes the preceding vowel long. But a fluent reader doesn’t look at the word ‘sure’ and think ‘silent E makes the U long.’ Learning the phonics rules is necessary, but having learned them, we actually become fluent readers through the act of reading large amounts of English.
There is also a pitfall to this technique of learning to hear intervals via a personalized list of familiar melodies. The leap of a major sixth in ‘My Bonnie’ is a leap from ‘so’ up to ’mi,’ but your brain will probably refuse to recognize the leap from ‘re’ to ‘ti’ as being the same thing, because ‘re’ and ‘ti’ play different roles in the key than ‘so’ and ‘mi.’ Some people learn two melodies, one for ‘so-mi’ and one for ‘re-ti.’ Some might even do another two for the downward leaps ‘mi-so’ and ‘ti-re!’ This just shows that the technique is artificial and not usually very useful.
18
Chapter II. Major Keys
II-2 Melodies Containing Only Steps In each example, start by identifying which line or space on the staff represents ‘do,’ the tonic. If you have an instrument at hand, play the tonic, and then sing enough notes from the tonic chord to bracket the range of the melody, e.g., ‘do mi so do’ for the octave spanned by the first example. If an instrument is not available, pick a note for ‘do’ that will put the melody in the most comfortable part of your vocal range. Locate the notes of the tonic chord on the staff to use as reference points.
27 >:
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30 > > > > > > > > > > > : > > > > > > >: > = > >>>> > >= >>
The following example is in a new key: its ‘do’ is the former ‘so.’ If you have trouble convincing your brain to switch keys, try singing ‘do re mi fa so’ in the old key, then repeating the last note as ‘do,’ and finally singing ‘do ti do’ — with authority!
31 / 32
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II-2. Melodies Containing Only Steps
19
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6 8
Note that the following two examples both have the tonic on the line at the center of the staff, so the one with five sharps actually isn’t any more difficult to read.
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The following five melodies all begin on ‘so.’
38 33 > > > > > > > > > ( > > > > > = ( > = > =: ( > > > > > > > > > > >> > We now begin moving around the circle of fifths in the opposite direction. ‘Ti’ in the previous key is flattened, and becomes ‘fa’ of the new key. If you’re singing the new, flattened version of the note correctly, you should be able to hear its strong tendency to resolve down to ‘mi.’
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anonymous, carol (Bohemia) 34 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ The Beautiful Angel 36 L.R. Lewis 38 L.R. Lewis
20
Chapter II. Major Keys
> = 35
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Canon for two voices:
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II-2. Melodies Containing Only Steps
21
Canon for two voices:
47
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48
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L.R. Lewis
22
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L.R. Lewis
Chapter II. Major Keys
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50
L.R. Lewis
51
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II-2. Melodies Containing Only Steps
23
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24
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Chapter II. Major Keys
> > =
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II-3 Leaps to ‘Do’
52 / 53 3
3 4
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3 4
II-4 Leaps Back to Remembered Notes
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56
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The following example uses both leaps back to remembered notes and leaps to the tonic.
55
J.S. Bach, Chorale, ‘Seelenbr¨ autigam, Jesu, Gottes Lamm’
56
J.S. Bach, Chorale, ‘Jesu, meiner Seelen Wonne’
II-3. Leaps to ‘Do’
25
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The next tune is easier than it appears, because you only need to return to the same note after each low G.
58
58
3 4
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folk song
26
Chapter II. Major Keys
II-5 Easy Leaps Within the Tonic Triad This section introduces leaps of a third, a fourth, and an octave within the tonic triad. famous tune (identified in the table of contents)
59 333 60 / 61
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6 8
Allegro
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Alessandro Scarlatti, Su, Venite a Consiglio 61 W.H. Latham, Broadway Sights (France) 63 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater A Recouvrance (France)
62
anonymous, A la Claire Fontaine A.S. Sullivan 65 anonymous,
64
II-5. Easy Leaps Within the Tonic Triad
27
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66
12 8
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Froebel, Pat-a-Cake 67 anonymous, Carmela (Mexico) 68 anonymous, My Father, How Long? (Florida) Bach, Chorale, ‘Es ist gewisslich an der Zeit’ 70 anonymous, Annie Laurie
28
Chapter II. Major Keys
69
J.S.
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73
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71
3 4
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H.S. Cutler, The Son of God Goes Forth to War Lawlan’ Jenny (Scotland)
72
>: > > > * > ( >: > > >
Martin Luther, We Come Unto Our Father’s God
II-5. Easy Leaps Within the Tonic Triad
73
anonymous,
29
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75 333
Allegretto
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The following example includes a leap of a sixth, but it’s an easy leap back to ‘do.’
76 33
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2 4
This four-part canon includes a leap of a sixth to ‘do.’ 3 4 > > > 77 3 > > > > > > > = > > > > >= > >>>> >>>>= > > > > = = 1
2
74
Stephen Foster, Hard Times Come Again No More 75 H. Burgess Weston, Row, Burnie, Row Revenant d’Auvergne (France) 77 anonymous, Entendez-Vous Sur l’Ormeau (France)
30
Chapter II. Major Keys
76
anonymous, En
II-6 The Leap of a Fifth Within the Tonic Triad
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81 3 > > : > > > : > > > : > = = 3 > >: > > >: > > >: > 78
>: > >
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Grazioso 6 8
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J.J. Rousseau, Hush, My Babe 79 anonymous, Dans la Forˆet Lointaine (France) (England) 81 Alice Hawthorne, Home, By and By
>: > > >: > = 80
anonymous, The Beggar Girl
II-6. The Leap of a Fifth Within the Tonic Triad
31
82 / 83 3
3 8
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82
Froebel, Beckoning the Pigeons
32
Chapter II. Major Keys
>>( =
II-7 Leaps of a Sixth Within the Tonic Triad
84
/
Allegro vivace 2 4
>
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85 / 86 3 87 /
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The next example includes both leaps within the tonic triad and leaps to ‘do.’ Because of its wide range, it is given in two keys; make sure to choose a key in which you can actually reach all the notes!
88 /
/
2 4
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* :: :: > >
> > > > > > > > > > > > * > > > > > > > > > > > > > > * :: > >> > >>
84
85 anonymous, As-Tu Vu la Casquette? (France) anonymous, Praise, Member (South Carolina) 87 88 Beckoning the Chickens folk song anonymous, Poor Rosy (South Carolina)
II-7. Leaps of a Sixth Within the Tonic Triad
86
Froebel,
33
89
2 4
> >> >> > > >> >>>
>>>> >
* : : > > > >> > > > : : >
> > > > > > > > > > > > > > > * > > > > > > > > > > > > > > > > > * :: Another example that includes leaps to ‘do.’
3 : > >: > > > > > =: > < > : 90 3 > > > > > >: =: > >: > =: > >
91 // > : > > : > > > > > : > > > > > : > > : > > > > > : > > > > * > > > / 92 // * > > > > > > > > > > ( > > > < * > > > > > > > > > ( > > > < >> Canon for two voices:
93 33
3 4
> = > 2> > > ( > > ( > > ( > :: >: > > > > > >: > ( 1
89
anonymous, Poor Rosy (South Carolina) Davie (Scotland)
34
Chapter II. Major Keys
90
W.T. Wrighton, The Dearest Spot on Earth
91
anonymous, Absent
II-8 Leaps Within the Dominant This section introduces leaps of a third within the dominant. Fourths, fifths, and sixths are included in section II-9, and leaps of a seventh within the dominant chord are deferred until section IV-5.
94 3 > * > * > > > > ( > > > 95
/
96 / 97 / 98 /
99
/
3 4
3 4
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famous tune (identified in the table of contents)
= > > > > ( > > >> > > > > = > >> > > ( > > >> > >
>
>
> > > >
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Un poco allegretto 2 4
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95
W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487 96 folk song 97 anonymous, Derri`er’ Chez Nous il ¨ y a Trois Fleurs (France) 98 anonymous, Annchen von Tharau (Germany) 99 anonymous, Ah! Mon Beau Chˆ ateau! (France)
II-8. Leaps Within the Dominant
35
///
100 / 101
2 4
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3 4
102 3
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2 4
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104 /
2 4
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100
anonymous, Ainsi Font, Font, Font (France) 101 John Husband, Revive Us Again 102 anonymous, Lightly Row (Spain) 103 anonymous, God Speed the Right (Germany) 104 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’
36
Chapter II. Major Keys
=: =: = > > > > = > =: =: =: = > = > = > Hell und freudig
105 //
3 4
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106
107 / 108
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9 8
2 4
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109 33 > > > = = = ( > > > > > > > = = > > > > > > = = = > > = > > < = " 3
110 /
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105
anonymous, Sch¨ onster Schatz, Mein Engel 106 anonymous, Down in the Valley 107 anonymous, Musieu Bainjo 108 (Louisiana) anonymous, Brother, Guide Me Home (Tennessee) 109 anonymous, Serenata (California) 110 W.A. Mozart, adagio from string quartet # 1 111 J.S. Bach, Chorale, ‘Es spricht der Unweisen Mund wohl’
II-8. Leaps Within the Dominant
37
112 3 > > > > > = > > > > > > = ( > > > > > > > > > > > > > = ( > > > > > =: 113 // > > > > = > >
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114 / >
/
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115 3 3 > > > > > > > > > > > > > > > > Allegretto con grazia
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3 >>>>> > > >>> > >> > < 3 > > > > > > > : > > = " :: > > / 116 //
2 4
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112
Nikolaus Beuttner, Es kam ein treuer Bote 113 J.S. Bach, Chorale, ‘Valet will ich dir geben’ ‘Wie bist du Seele in mir so gar betr¨ ubt’ 115 anonymous, Gardez Piti Milatte-l` a (Louisiana) On, Children (Georgia)
38
Chapter II. Major Keys
114 116
J.S. Bach, Chorale, anonymous, Shout
117 /
118 / > > > > >
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119 /
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117
Franz Schubert, Wohin? 118 J.S. Bach, Chorale, ‘Liebster Jesu, wir sind hier’ 119 Franz Joseph Haydn, menuet Oxford symphony 120 J.S. Bach, Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’ 121 Franz Schubert, Halt! 122 Gustav Holst, Venus theme from The Planets
II-8. Leaps Within the Dominant
39
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123
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anonymous, Serenata (California)
40
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124
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anonymous, If Your Foot Is Pretty, Show It (United States)
Chapter II. Major Keys
: > > > >
II-9 Wider Leaps Within the Dominant This section introduces leaps within the dominant as broad as a sixth. Leaps of a seventh are deferred until section IV-5.
>: > >
126 > 127 33
2 4
famous tune (identified in the table of contents)
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129 333
3 4
> > > > > > > > > > > > > > > > > = > > >
3 3 3 = ( > > > =: = > > > > = > > > > > > > > > > =:
127
anonymous, Eli Yale
128
anonymous, Krambambuli
129
anonymous, Go ’Way, Old Man (Louisiana)
II-9. Wider Leaps Within the Dominant
41
/ 130 //
131 3
2 4
>>>
>>>
>>>> > >
>>>
>>>
>>> > > >
> > > > > >: > > > > > > >: > > > > > > > > > > > > >: > > > >
6 8
/ 132 // ( > > > > > > > = ( > > > > > > = = :: ( > > > > /// > >> >>> = ( > > > >>> = ( > > > > > > > = = > >
133 33333 134
///
///
135 /
6 8
3 4
> > > > >> > > > = > > >>> > >>> > > > > > > > =: Un poco allegretto
2 4
>: > > > > >: > > > >: > > > > > > > > > > > > > > >
> > > > > > : : > > >> > >> > >> > >> > > > > > * > > > > > > > > > > > > > > >: > ( > > > > > > > > > > >: > (
130
anonymous, Our Baby (France) 131 anonymous, Aux Marches du Palais (France) 132 J.S. Bach, Chorale, ‘Herr, wie du willst, so schick’s mit mir’ 133 J.S. Bach, minuet 134 anonymous, Arlequin Tient Sa Boutique (France) 135 anonymous, Ballade de Roland (France)
42
Chapter II. Major Keys
/
136 /
/
137 3
> > > > > > > > > : ( > > > > > > > ( > : > > > > > > > 6 8
> > > > > > > > > >: ( > > > > > > > > > > > > > > > > >
> > > > > > : ( ( > > > > >> >> >> : (: >: > > > > > > > > > > > > 2 4
( > > > >: > = >: > > > >: > = ( > > > >: > = ( >: > >
3 > > > > (
138 /
136
2 4
>
> >
: > > > > >M: > > > > > = = > > > >>>> > = :: >> > > >: > > > > >
/ > > >: > > > >>> /
> > > >
folk song
137
>
* >: >
>
> >
>: > > > > > > > >: > > >
> > > >: > > > > >
anonymous, Tu Eres Mas Bella (Costa Rica)
>
138
> >: > > > >: > >
anonymous, Praise, Member (South Carolina)
II-9. Wider Leaps Within the Dominant
43
139 3
> > > > >: > > > > > > > > > > > > > > > > > > > Mit kraeftiger Leidenschaft
6 8
> > > > > > > > > > 3 > > > > : > > > >> > > > >: > >
/ 140 // // > : > > > : > > > > > > > : > : > > > > > : > > > > > > >
////
= > > : / > = > > > >: > > > > : > > : > > >: > > > > > >: >
141 / > > > > > * > > > > > > ( > > > > > > > > > > > ( ( > > > > > * > > > / >> ( >> >>>>>> > ( * > > > > > > > > * > > > >: >> * > > >
/
> > * > > > >:>> ( > > > > > * > > > > > > ( > > > > > > > > > > =
142 // > > = > > >>= >> = > > > >> = = = > > > >> = = 139 142
anonymous, Wach’ Auf, Mein Hort 140 anonymous, Barbara Allan (Scotland) Franz Joseph Haydn, finale, London symphony
44
Chapter II. Major Keys
141
anonymous, I’m a Pilgrim (Italy)
Allegro
143 3
>: > > >
2 4
144 3
>: > > >
=
> * > *
> * > >
3 >: > > > 33
>: > > >
=
> > > >
=
> > >
>> > > >> > > > > > > > > ( > > > > >>>> > > > > >> > >> > >> > = 3
3
3 4
3
3
Lebhaft, doch zart
145 3 >
> > > >
> > > >
3 > > > > 3 > > > >
> > > > =:
>
> > > >
=
> > > >
> >
= > >
> > > >
= > >
> > > > =
> >
> > > > = (
= > > > 146 ( > > > ( * > > > > * > ( > > > ( * > > > > * > >: > /
143
/
Allegretto
= >: >
>>>>
>( > >( >=
anonymous, Dans Notre Jardin (France) Jungfr¨ aulein, Soll Ich Mit Euch Gehn
144
<
>>>>
>>( >>>>>
anonymous, The Gypsy Warning (Missouri)
II-9. Wider Leaps Within the Dominant
145
anonymous,
45
147 3333 148 333
( ( > >> ( > > > > > : > : : > > > > > >: > >: > > >: >: > Molto mesto
6 8
( >: > > =
Allegretto comodo 3 4
> ( >: > > > ( >>>> = (
( > >>> > =
3 = ( > > > > = : :: :: 3 3 ( > > > > > > > ( > > > > > > > > ( > > > > >
149 3
6 8
> > > >
>
> * > >
3 *
> > > > >>> > >>>>>
3 *
> > > > >>> > >>>>>
150 33
4 8
>
>
>
>
>
> *
> >
>> >
> >:
::
> > > > >>> > >>>>> ( > > * > > * > >:
> > > > >
>
>:
> >
*
Andante
151
3 4
> >> > >> > > >>>>> > > > > > > >> > > : > > > > > > =
147
Richard Strauss, Not Yet 148 anonymous, Ah, Suzette, Ch`ere (Louisiana) (Arizona) 150 Franz Schubert, Das Wandern
46
Chapter II. Major Keys
149
anonymous, La Paloma Blanca
152 333
3 4
> > > >
3 3 3 >: > >
153 3333
3 4
>: > >
>
k
33 33 >>> > = (
= >
Fine
154
///
6 8
>: > > >: > >:
* >
>
=
>
=
* > (
= > = > > ( >> > = > = > = > > >>> > >
33 33 = > = (
///
>: > >
>
* >
3 8
> > > > = ( > >
= >
> > >
D.S. al fine > > > > > > > > > > > > > > > > >: >:
> > > > >> * >> > *( > > >>> > >> * > > > >>> >
> > > > * ( > > > > > > > > > >: > > >> > > > : > > > > > >: > >> >>
155 33 > > > > > > = > > > > > > > > = > > > > > > > > >
152
anonymous, Chill Ether (Scotland)
153
folk song
154
folk song
155
J.S. Bach, Chorale, ‘Nun ruhen alle Walder’
II-9. Wider Leaps Within the Dominant
47
> 3 =: > > > > > > = > > > > > > > = 3 > > > > > >> > > >
156 / >
> > > >> >>> > >
/ > > > > >
157 //
3 4
> : > >> >
>
> > > > > > > > >
> > > >: >>> > > >
>>> >: > > > > > > > >: > > > > > > > > > > >: > 3
/ > / > > > > > > > > >: > > > > > > >: > > > > >
158
/
159 3
> > > + > > > > > > > > > > = >:>> > > > > > * > > >: > >>: > = = Andante
2 4
>>>> >> > > > * >>>> >> > >>>> > > > > > Anmutig
2 4
3 > * > > > > > > > > >
> > > > > >
> > > >
>
Canon for two voices:
156 158
J.S. Bach, Chorale, ‘Wenn wir in h¨ ochsten N¨ oten sein’ 157 anonymous, The Duke of Argyle’s Courtship (Scotland) 159 Harold Samuel, The Fairy Boat anonymous, Gar Lieblich Hat Sich Gesellet
48
Chapter II. Major Keys
2 160 33 > :: = = = : > > > > ( > > > ( ( > > > > > > > " > > > > = > > :: 1
II-9. Wider Leaps Within the Dominant
49
50
Chapter II. Major Keys
Chapter III
Minor Keys III-1 Solfeggio in the Minor Mode Some people sing in the minor mode using these solfeggio syllables:
3 33
< 2< 2< < < < < < do
re
me
fa
so
la
ti
do
< 3< 3< < < < < < do
te
le
so
fa
me
re
do
This system has the advantage that most of the notes have the same functions as in the major mode. ‘Do’ is still the tonic, ‘so’ the dominant, ‘ti’ the leading tone, and so on. In this system, the names of the notes stay the same when switching between the parallel major and minor.
Others prefer this:
3 33
2< < 2 < < < < < < la
ti
do
re
me
fi
si
la
< 3< 3< < < < < < la
so
fa
mi
re
do
ti
la
This system highlights the relationship between the minor and its relative major.
If you don’t have a teacher who wants you to use one system or another, I suggest you use the first one, because it lets you recycle many of the patterns you’ve learned in minor. For instance, ‘so-ti-do’ is still a formula for a cadence.
In both systems, the vowel ‘i’ is used for a sharpened note, and ‘e’ for a flattened one. The chromatic scale looks like this:
< do
< /<
< /< di
do
<
re
ri
< /<
mi
fa
fi
< /< so
<
3<
2<
3<
2<
3<
2<
ti
te
la
le
so
se
fa
< /<
si
< mi
la
3< me
li
< ti
2<
3<
re
ra
< do
2< do
The important thing is to pick a system and learn it thoroughly. (I use my own enharmonic system in which the chromatic scale is ‘do gu ri bu mi fa ka so ja la pa ti do.’)
52
Chapter III. Minor Keys
III-2 Steps The purpose of the first exercise is to get used to the solfeggio syllables used in minor.
161 > > > > > > > > > > > > > > = > > > > > > > > > > > > > > > > :: Poco a poco accelerando
162
6 8
> > > >
>:
Largo
163
3 4
> > * >
>:
>> > > > > >
>:
>> > > > > >
>:
> > * > > > > > =:
This melody introduces the use of the ascending and descending forms of the melodic minor scale. The rhythmic figure is the same as in the preceding tune.
> > > /> > > > > > > > > /> /> > > >> > > > > > > /> > > /> > / > > > > = : Largo
164
3 4
165 > > > > > > > /> > 2> > > /> /> = > 2> > > > /> /> > > > > > > > = 166
3 4
> > > > > > /> > > > 2> > > > > = ( > > /> /> > >
167
3 4
> > =:
165
L.R. Lewis
166
L.R. Lewis
> > > 167
/= :
> > >
=:
> 2> >
=
>
L.R. Lewis
III-2. Steps
53
= > > =:
> /> />
=:
> > >
> > >
= > =:
168 3 > > > >
> > > >
> > > >
2> /> =
169 3 > > > >
> > =
2> /> > >
> /> =
>
( > > > > 2> /> > 2> 3> > > 2> /> = ( > > > > > > > > /> > >
170 3
3 4
> > >> > > >> >>
171 3
3 2
/= < /= = 2= 3= < = > > 2= = > < > = = = ( = = =
172 33 > > > > > > > > > > > > > > > > > > > > > > > > > 3 >>>> >>>> > > > > 3 > > > > > >> >: > = > /> 2> > > >
168
L.R. Lewis
54
169
L.R. Lewis
170
L.R. Lewis
Chapter III. Minor Keys
171
L.R. Lewis
172
J.S. Bach, gavotte in G minor
173
> >> > >>>
2
>> > >
"
2
<
> > > > > /> > "
( > > > > > > >
> > > /=
=
>
(
> > > > > > > > > > > > >
2
/= :
173
> >
> < >>>> >>>>> >
> > > 2>
> >
> > > /=
>
=
(
>
(
> > > > > > > > 2> (
"
> > > > > >
=:
=:
> > > > > > >
L.R. Lewis
III-2. Steps
55
III-3 Leaps Within the Tonic Triad
= 174 333 > 2> = > ( = > > = > ( = > > = > ( = > > > > > (
175 333
> > > >> > >> > > > > > > > ( ( (> (>> >( ( > ( < >
176 333
> > > > > > > > > > > > > > =: > > > > > > > > > > > > > =: 2>
3 4
>
>
>: > >: > >: >: = > >:
= >
177 333 > 178 333
3 4
>
3 > >: > >: >: 33
179 333 > > > > > > >>>>> 33 2> 3 176
G.A. Wedge
56
177
>
>
=
3
>
>:
> 3
>:
=
> =
> >: > =: >
>
"
: > 2> : 2 > =
> > > =
> >> >>>
>
> >>>>>
2> > > > (
2> ( > (
Who Got Dirt on the Carpet Again?
Chapter III. Minor Keys
(
2>
(
180 3333
2 4
> >
> >> = > > >
> >
> >> > >> =
181 3333
2 4
>
>
> >> = >>>>
> >
>>>> > 2>
182 3333
2 4
>
> >> > > >
183 3333 >
2> > 3> >
184 > > /> /> = /=
/> > > >
185 / 186
180
3 4
2 4
=
=
> >> >>>> =
>>>> > >
> > 2>
> > > >
>
>
> > > >
=
> (
= = =
=
=
"
>: > =:
> > > > = /= > > > >
=
=
> > > > >:> > >>> > > > > > >>> >> >>> > > > > > > > /> >
>: > > > > > > = >: > > : > > : : > > > > > > >: > > > > >
G.A. Wedge 181 G.A. Wedge Every Hour in the Day (Georgia)
182 186
G.A. Wedge 184 J.S. Bach, Chorale, ‘Herr, nun lass in Friede’ anonymous, Forget na’, dear Lassie (Scotland)
III-3. Leaps Within the Tonic Triad
185
anonymous,
57
> >: > >: > >: > > > > > >: >
> >: > = > > > >: > >
> >: > =
> >: > = >: > > >: > > > > > > >: >
187 33 > > > /> > = > > > > > > = > > > > > /> = : famous tune (identified in the table of contents)
188 33 > >W ( > > > > > >W > > > > W > > >>> >> > W W Round: 1 189 333 > > =
187
> > > > 2
J.S. Bach, Chorale, ‘Es steh’n vor Gottes Throne’
58
Chapter III. Minor Keys
189
> > > 2> > > > > 3
anonymous, Thou Poor Bird
4
> > =
III-4 Leaps Within the Dominant
190 33
3 4
> > > > > =: > > >>>>>> > > > > > > > /> > > > > /> = :
191 33
2 4
>
>
>>> >> > = >
> >
>>>
> >
> />
=
famous tune (identified in the table of contents)
192 33 = > > = > > > /> > > = > > > > = = > > > > > /> > > > > > > > > < Andante
193 33
Vivace 9 8
> >> > >>> > > > > > >
>>> >>>* >>>>>> >>
3 > > >>> > 3 >>> > >* >>>>>> >> >>> > >> > 3 > 2> /> > > > * 2> 3> > > > > > > > > > > > > * > > 3 >>>>
194 33 195 190
33
3 4
3 4
G.A. Wedge
> >> >>> >> > > > /> > = > > /> > > > > > > > /> > > = >> >> > > >>>> > > > > > >>> >>> > > =: > > > > > > > =: 191
G.A. Wedge
194
G.A. Wedge
195
G.A. Wedge
III-4. Leaps Within the Dominant
59
196 333 197 33
= > > 2> > > > > > 2> > = :
3 4
3 4
= > > 2> > > 2> > > > =:
> > > > > > > > > > > > > > > > > > > > > > > > /> = : ::
< > > > >> > > > >>>> >> < > 198 333333 > : > > > > : > > > > > > > > Largo
199 / 200 33
201 333 202 33
+
2 4
3 4
4 8
> > > +>>>> > > > + > > > +>>>> > = > /> >>> >>>
> > > > > > > > > > > > > = > > > > > > > /> > > > /> = > >: > > >
> > > *
>: > > >
* > > > 2> > >
> > > > > >: > > > > > > > > > > > > > /> > Draengend, doch nicht schnell
3 8
3 > > > > >>> > /> > > > > > > > > > > /> : 3 >: >
196
>
G.A. Wedge 197 J.S. Bach, melody from the notebook for Anna Magdalena 198 anonymous, lullabye (Russia) anonymous, Las Tristes Horas 200 G.A. Wedge 201 Froebel, The Wolf 202 anonymous, Guten Abend
60
Chapter III. Minor Keys
199
203 333
12 8
> > > > > > > :> > > > > > > >
204 333 > :
> >
>
3 > 3 3 >: > > > > >
>
>
> >>> > > 2> > > > > > > > > > > > > > > > 2> > > > : :: >: >
>:
> 2>
>
>
>
>
* > > > > >: >: > > > : > > > > 2>
3 3 3 > > > > >: : > > > > > >: >: > > > > > 2> >
205 3 206
33 /
3 4
> > > > > > :> > > > > > :> > > > > > > > :> > > > > > > /> > > > /> > > > /> = +> > > > > : +> >: > > * > > > > > > > > > /> > > > > > > > > > > /> > > 3
2 4
::
3
3
Andantino
207 > > > > > > > > > > > > > > > > > > > > > = > > > > > > > > > > :> = : /> /= : /> 3
208 > > > > > > > > > > > > > = ( > > > > > /> > > > > > > : > = 203
J.S. Bach, Gavotte II from cello suite # 5 204 anonymous, Lolotte (Louisiana) 205 W.A. Mozart, menuet from string quartet # 15 206 anonymous, Los Ojos Mexicanos (Mexico) 207 Maude Valerie White, Ophelia’s Song 208 J.S. Bach, Chorale, ‘Nun sich der Tag geendet hat’
III-4. Leaps Within the Dominant
61
209 3
+> >:>> > > > +> >:> * > >:>> > > > +> > > > > > > >: > /> > 3
2 4
> > = > > > > > > > 210 333333 > > = = > > > > > > Allegro marziale
33 = > >> > > > > = 3 3 33
> >
> >>> >
> >>> >>
> 33 3 3 > 2> 2> > > > > > > > 3 > 3 > > > > > > > > > > 2> 2> > = 33
211 3
2 4
> > >: > > * > : > >: > > > > > > > > > >: > > >>>> > 3
3
> 3 > > > * * : > > > : > > : > > >>>> > > > >>>> > = 3
212
6 8
> >
> > > /> >
3
>
* > > >
>: > > >
>
> > (:
213 > > > > > /> > > /> > > > > > > = = > > > > > > = > > > > > = =
209
anonymous, Reir Es Necesario (Mexico) 210 anonymous, En Avant, Gr´enadiers! (Louisiana) 211 anonymous, Angel de Mis Amores (Mexico) 212 Franz Schubert, Am Feierabend 213 J.S. Bach, Chorale, ‘O Traurigkeit, o Herzeleid’
62
Chapter III. Minor Keys
214
//
>: > > > > pp Langsam
/ 215 // /
3 4
216 3 > 3 =
>: > > > > > > > > "
/> ( ( * >
( : >: > : ( :: = > = > > : > > : : > > > = > : /> = : = : =: > > =: M > = >
> > > > M > >
> > >>> 3
> > >>> M =:
>
> > >>> =M:
>
>>> > >
=M: >
>>> > > = >M >
> > > > =
>M >
M > > > > =:
217 // > > > > > > : > > > > > > > > = : :: > > > > > = : > / > > > > >: > > > >> > >: > > > > > > : > > > > > > > /> = : /
218 33
4 8
> >>> >
> >>> >
> > /> > > > > > > /> >
214
Johannes Brahms, Nachtwache 1 215 anonymous, Mi Sue˜ no (Mexico) 216 J.S. Bach, Chorale, ‘O Haupt voll Blut 217 und Wunden,’ from St. Matthew’s Passion J.S. Bach, Chorale, ‘Von Gott will ich nicht lassen’ 218 G.A. Wedge
III-4. Leaps Within the Dominant
63
3 3 2> > > > />
> > /> > >
219 33
3 4
> > > >> >
220 33
3 4
> : > > > = > > /> > > /= :
3 3 = > /= : 3 3 =:
":
=
> > > > > >> =: > > > / > > > /> > > > = : > > > > >> > ":
":
":
> > > = />
>>>>>> > > > > > > > > > > > >: > > > > >:
> > > /> =
3 3 >> : > /= : > > = > = 3 ": 3
> > > > > > > />
= > >: > = > >
=: ":
> > > > > /= > = > =:
>: > > >
> > > > > /= > = > =: > > > 2> > 2= > > /> > > : > >
3 > 3 > * ( * > ( * > = : > > > /> > = : > : > > /> : > = > /> >
219
G.A. Wedge
64
220
G.F. Handel, aria ‘O Jordan, Sacred Tide’ from Esther
Chapter III. Minor Keys
3 " > : > " > > 3 > > : > : > > /> 2> = 2> /> > > > > > /> : > = : /= : Lento
221 33 >
> > > >
3 > > = 3
> > = =:
> > /> > :
> >: > > >: > 3 3
>>: =
>
> > > >
famous tune (identified in the table of contents)
> > /> > : ( >>=
> =:
=: >
> =:
* > > > /> > :
III-4. Leaps Within the Dominant
=
>: > <
65
66
Chapter III. Minor Keys
Chapter IV
Other Diatonic Materials IV-1 Leaps Between the Tonic and Dominant The following three songs contain the leap from ‘ti’ to ‘mi.’
222 /
2 4
223 3333
> > > > =
=
2 4
> > > >
=
> > > > : > >W W > > > >>> > >W > > > >
> >: >
> >: > >: > > > > >: > > > >
=:
Allegro giusto 3 4
>
33 > 33 > >
224 /
> > > > > >> > > =
> =
>> > >> > > > >> >: > > > > > >: > > >> > > * > > > > >> > +* (
The next three use leaps of a diminished fourth, an interval which sounds like a major third, and is typical of minor keys.
225 / > > = > > = > > > > > > > = > > = > > = > > > > > /= =
222
anonymous, Ya Viene El Alba (California) Danksagung an den Bach 225 Grieg
223
Alessandro Scarlatti, Gi` a il Sole dal Gange
224
Franz Schubert,
226 /
3 4
=:
= />
> > >
= >
= >
/
/= > > = /> > /= > >
=:
= >
> > >
/= :
> > > > > > : =
=:
227 33 = : > = /> > = > > > > > : > = = > > > = = = > > = > > > = < Moderato affetuoso
226
anonymous, zandunga folk song (Southern Mexico)
68
227
Giulio Carcini, Amarilli, Mia Bella
Chapter IV. Other Diatonic Materials
IV-2 Leaps Within the Subdominant, Major Keys The first two tunes clearly imply the subdominant chord in the marked measures.
228 3
3 4
* * > > > > > > > > > > > = > > > >> > > > > > >
> > >> = >> > > >> = > >>> >> >>> > >>> > = 3 = > *
Allegro
229
>> > > >> > > >> > > >> > = > > > > > > >= > > = >>>>>> > > >> >>
3 4
*
More commonly, the melody leaps into or out of ‘la’ without spelling out the subdominant chord explicitly. Although dominant harmony can often be implied strongly with only one or two notes, this is not usually true of the subdominant, because of its weaker character. Since thirds are the most common leaps, the most important new leaps to learn to sing are the ones between ‘do’ and ‘la’ and between ‘fa’ and ‘la.’ This melody leaps from ‘do’ to ‘la:’
230 3
2 4
* * >> > > * > >>>> > > > * > >>>> >>> >>> > > * > > > > > > >
This one jumps from ‘la’ to ‘fa:’
231 3 232
228 231
//
2 4
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anonymous, Jehovah, Hallelujah (South Carolina) folk song
famous tune (identified in the table of contents)
> > > >: 3
229
=
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anonymous, Arlequin Marie Sa Fille (France)
IV-2. Leaps Within the Subdominant, Major Keys
(
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230
folk song
69
//
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A great deal of Scottish folk music uses a major scale that omits ‘ti.’ ‘Fa’ is sometimes left out as well, forming a five-note, or pentatonic, scale. Once one’s ear adjusts to the sound of the scale, the characteristic leap between ‘do’ and ‘la’ no longer sounds like a leap at all. Of the following two examples, the first is pentatonic, while the second uses the full major scale. The first example has been notated with the style’s typical elaborate ornamentation, which you may wish to ignore.
233 3
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233
anonymous, Lang Johnny More (Scotland)
70
234
anonymous, The Bonniest Lass in a’ The Land (Scotland)
Chapter IV. Other Diatonic Materials
235 / > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > 236 333
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33
> > > > >>> > >> > > >>> > > > > > >>>> >> >>>> > > > > > >> Andante
237 3
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238
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239 3 240 / 241 3
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6 8
> > > > > > 3 * > > * * > > > >: > > >: > > > > > > > > >: > > > 235
anonymous, Old Hundred 236 anonymous, Da Unten Im Tale 237 anonymous, I Want To Be Ready (United States) G.B. Fasolo, Cangia, Cangia Tue Voglie 239 anonymous, The Ash Grove (Wales) 240 W.H.C. West, The Jenny Lind Mania (United States) 241 anonymous, Au Jardin de Mon P`ere (France)
238
IV-2. Leaps Within the Subdominant, Major Keys
71
> > >: > : > 242 > : > > > > > *> > > > > > >> > * > > > = Moderato
243 //
3 4
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244 333
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72
Chapter IV. Other Diatonic Materials
>: > > > >:
244
J.G. Whittier, Song of the Free
246 3 = : >
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Thomas Tallis, If Ye Love Me 247 anonymous, Sinner Won’t Die No More (Tennessee) from clarinet quintet 249 anonymous, The Gold Band (Tennessee)
248
W.A. Mozart, opening
IV-2. Leaps Within the Subdominant, Major Keys
73
W 250 / > = > >W = > = =
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250
Giovanni Battista Pergolesi, tune from Stabat Mater 251 anonymous, Bonnie Wee Window (Arkansas) Fearis, Beautiful Isle of Somewhere 253 W.B. Bradbury, He Leadeth Me
74
Chapter IV. Other Diatonic Materials
252
J.S.
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254
M.D. Sullivan, The Blue Juniata 255 anonymous, Red River Valley 256 anonymous, I’m In Trouble (Florida) Franz Joseph Haydn, introduction, London symphony 258 anonymous, Rosa Lee
IV-2. Leaps Within the Subdominant, Major Keys
257
75
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anonymous, My Lodging Is On the Cold Ground anonymous, Calinda (Louisiana)
76
260
anonymous, Cowboy’s Home Sweet Home (Arkansas)
Chapter IV. Other Diatonic Materials
261
262
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262
anonymous, The Braes O Yarrow (Scotland) 263 anonymous, Gaudeamus Igitur 264 W.A. Mozart, andante from string quartet # 2 265 anonymous, The Wild Moor (Missouri) 266 Johannes Brahms, introduction, 1st symphony
IV-2. Leaps Within the Subdominant, Major Keys
77
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267
anonymous, Caroline (Louisiana) 268 anonymous, Avril (France) 10 270 anonymous, The Hallowed Spot (Missouri)
78
Chapter IV. Other Diatonic Materials
269
W.A. Mozart, menuet from string quartet #
271
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anonymous, folk song (Russia) 272 anonymous, The Ship That Never Returned (Missouri) Paradies, M’ha Preso Alla Sua Ragna
273
IV-2. Leaps Within the Subdominant, Major Keys
Pier Domenico
79
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274
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275
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anonymous, Die Sonne Scheint Nicht Mehr
80
275
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anonymous, Ubi Bene, Ibi Patria
Chapter IV. Other Diatonic Materials
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IV-3 Wide Leaps Within the Subdominant
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277
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278
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IV-3. Wide Leaps Within the Subdominant
81
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280
anonymous, Derri`ere Chez Moi (France) Mountains
82
281
Stephen Foster, The Song of All Songs
Chapter IV. Other Diatonic Materials
282
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S.W. Gladden, The
IV-4 Leaps Within the Subdominant, Minor Keys
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anonymous, Hanukah O Hanukah
IV-4. Leaps Within the Subdominant, Minor Keys
83
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288 3
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292 3 > = : > > > /> > = : /> = : > = =
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Allegretto
288
289
290
291
anonymous, Vivo Llorando la Suerte (Mexico) J.S. Bach, trio from Brandenburg concerto # 1 (Russia)
84
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W.A. Mozart, Osanna (bass solo, allegro) from Sanctus, Requiem anonymous, Que No Te Amo (Mexico) 292 anonymous, folk song
Chapter IV. Other Diatonic Materials
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293 3333
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293
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294
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anonymous, Entre Vous Tous Gens de la Ville (France)
IV-4. Leaps Within the Subdominant, Minor Keys
85
IV-5 Leaps of a Seventh With leaps of a seventh, as with any very broad leap, the most common problem is simply the inability to reach the note. Make sure to sing each example in an appropriate key. If the leap of a seventh is upward, find the lowest key in which you can comfortably sing the lowest note of the melody.
A factor in the sight-singer’s favor is that the most difficult leaps to sing are usually the ones that are ugly as well, and therefore composers don’t write them; in real music, most leaps of a seventh occur in certain special contexts that make them both easier to sing and more acceptable to the ear. Although it is possible to memorize the sounds of the minor and major seventh leaps and sing them on demand, that’s a fundamentally unnatural way to think about melody; keep in mind that most of the examples in this section are folk songs created by people who were illiterate, and probably could not have performed such a trick themselves.
Another technique for use when all else fails is to imagine the seventh as a downward step, with the second note moved up an octave. In all the following examples, however, we’ll see that there are better solutions arising naturally from the logic of the melodic line.
The first example is easy, because the leap begins a repetition.
295 3
3 4
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The next two examples are not much harder; there is repetition, but at a pitch one step higher.
296 3
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6 8
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W.A. Mozart, menuet from string quartet # 8
86
296
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C. Hess, Little Charley Went a Fishing
Chapter IV. Other Diatonic Materials
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297
folk song
In the next tune, the leap upward from ‘ti’ to ‘la’ is heard as the inversion of the earlier step down from ‘ti’ to ‘la.’
33
298 3
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The next example has a leap of a seventh as part of a dominant seventh chord. It resolves downward to ‘mi,’ and this ‘fa-mi’ relationship is one of the most prominent landmarks of the key, so you may find that the easiest way to hit the ‘fa’ is simply by locating ‘fa-mi.’
299
3 4
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This tune, like the preceding one, uses the familiar ‘so-fa-mi’ pattern. The leap is also made easier because we’ve just sung ‘fa’ in the low register, and because, looking ahead, we anticipate the descending scale ‘fa-mi-re-do.’
/ 300 //
298
///
2 4
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anonymous, Carmela (Mexico) (South Carolina)
299
W.A. Mozart, menuet from string quartet # 1
300
anonymous, Gwine Follow
IV-5. Leaps of a Seventh
87
/// > > > > > > > > > > > > > > > > > >: > > >>> > > > > >> > * :: Another ‘so-fa-mi’ example. The ‘fa’ is heard as part of a logical progression of prominent high points in the line.
301 333
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Felix Mendelssohn, aria ‘If with all your hearts ye truly seek me’ from Elijah anonymous, Cradle Song
88
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Chapter IV. Other Diatonic Materials
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303
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304
anonymous, Widdecombe Fair (England) 305 anonymous, Walk, Shepherdess, Walk (Arkansas) 306 anonymous, Reir Es Necesario (Mexico) 307 anonymous, folk song (Russia) 308 anonymous, A Quinze Ans (France)
IV-5. Leaps of a Seventh
89
309 3
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90
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310
W.A. Mozart, presto from string quartet # 7
Chapter IV. Other Diatonic Materials
311
anonymous,
IV-6 Other Perfect Fourths and Fifths We’ve already sung leaps of a fourth and a fifth within the tonic, dominant, and subdominant chords, and those leaps strongly implied their chords. For instance, it’s difficult to hear the ‘so-re’ leap without perceiving a dominant chord. Although other leaps of a fourth or a fifth may imply other triads, in real music they are more commonly produced not by the harmony but by the logic of the melody itself. In the first example, the composer simply wants to repeat a molodic idea at a different pitch. The ‘la’ is easily sung by thinking of it in relation to the ‘do’ it leads up to.
312 > > > > > ( > > > > > > > > ( > : > > >W > > >W > > > > ": W >: > W W > > >: W W W >W > *
In this example, the leap from ‘la’ to ‘re’ is heard as an imitation of the preceding ‘so-do’ leap.
313 /
2 4
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Here, we really have the easy ‘so-mi’ leap, but with ‘la’ interposed.
314
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312
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313
folk song
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314
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anonymous, La Rana (Mexico)
IV-6. Other Perfect Fourths and Fifths
91
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Charles K. Harris, After the Ball
Chapter IV. Other Diatonic Materials
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C.M. von Weber, Softly Now the Light of Day
92
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Tempo di valse
3 3 =:
316
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famous tune (identified in the table of contents)
=
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318 3 319 /
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320 333
321
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318
A.S. Sullivan, Take a Pair of Sparkling Eyes 319 A.S. Sullivan, Sing Hey to You, Good-Day to You! Foster, Slumber My Darling 321 S.C. Foster, Gentle Annie
IV-6. Other Perfect Fourths and Fifths
320
Stephen
93
322 /////
6 8
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323
6 8
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322
anonymous, Were You Ever in Rio Grand 323 Nikolai Rimsky-Korsakov, Scheherezade (theme from third movement) Beethoven, opening movement from string quartet # 1 325 W.A. Mozart, trio from string quartet # 1 326 Franz Abt, Kathleen Aroon
324
94
Chapter IV. Other Diatonic Materials
327 //
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328
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6 8
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329 // > > : > =
327
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anonymous, folk song (Germany) Caro Mio Ben
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328
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Thomas Moore, Love’s Young Dream
329
Attributed to Guiseppe Giordiano,,
IV-6. Other Perfect Fourths and Fifths
95
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330 3
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330
anonymous, R´emon (Louisiana)
96
331
anonymous, Juanita
Chapter IV. Other Diatonic Materials
332
H.S. Thompson, Lilly Dale
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anonymous 334 Giovanni Battista Pergolesi, aria from Stabat Mater Johannes Brahms, introduction, 1st symphony
335
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J.S. Bach, menuet II from cello suite # 2
IV-6. Other Perfect Fourths and Fifths
97
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337 // >
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338 3 333 > > : > > : > > > > > > : > > > > > > : > > > > > > : > > : > > : > Moderato
333 > : > > : > : > > >: > =: > * ( > > 3 > > : > > > > >> > > >: >> > / 339 //
337
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Zaertlich und lebhaft 6 8
anonymous, processional march song (Germany) Sch¨ onste Sch¨ af ’rin Mein
98
338
Darius Milhaud, Chant de Sion
Chapter IV. Other Diatonic Materials
339
anonymous, Sagt Mir, O
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342 > > > > > > > > > > > > > > > > > = > :: > > > > > > > >>> >
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340
anonymous, Gunhilde Diese Zeit’
341
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anonymous, Ach, Englische Schaeferin
342
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IV-6. Other Perfect Fourths and Fifths
99
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3 4
G.F. Handel, Angels Ever Bright and Fair
100
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344
Beethoven, allegro from string quartet # 6
Chapter IV. Other Diatonic Materials
IV-7 The Diminished Seventh Chord, and the Harmonic Minor Scale
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anonymous, O Daniel (Florida) quartet # 5
347
J.S. Bach, Invention 2
348
W.A. Mozart, andante un poco allegretto from string
IV-7. The Diminished Seventh Chord, and the Harmonic Minor Scale
101
349
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349
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102
Chapter IV. Other Diatonic Materials
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Chapter V
Nondiatonic Materials V-1 Secondary Dominants and Chromatic Passing Tones
350 // > > > > > > > > > > > > > > > > > > > > > > > > > // > > > > > > > > > >> > > > > > > > > /> = : > > > // = : > > > > > =: > > > > > =: > > > > > > > > =
351
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Martin Luther, A Mighty Fortress Is Our God Carpet Again?
351
anonymous, Kevin Barry (Ireland)
352
Who Got Dirt on the
353 /
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353
Ithamar Conkey, God is Love, His Mercy Brightens (France) 356 Samuel Webbe, Come, Ye Disconsolate
104
354
Shoals, Valedictory
Chapter V. Nondiatonic Materials
355
anonymous, Autrefois le Rat de Ville
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358
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V-1. Secondary Dominants and Chromatic Passing Tones
105
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360 333
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106
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Chapter V. Nondiatonic Materials
361
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362 3
2 4
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362
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anonymous, Vivo Penando (California) 363 anonymous, Allan Maclean (Scotland) Sempre Addita 365 anonymous, Dans le Port, Il Est Arriv´e (France)
364
Alessandro Stradella, Ragion
V-1. Secondary Dominants and Chromatic Passing Tones
107
366
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108
367
George Cooper, Beautiful Bells
Chapter V. Nondiatonic Materials
368
J.H. McNaughton, The Faded
369
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369
W.A. Mozart, menuet from string quartet # 1 370 Franz Joseph Haydn, adagio poco cantabile from string quartet, Op. 73, #3 (‘Emperor’) 371 anonymous, Crep´ usculo (Mexico)
V-1. Secondary Dominants and Chromatic Passing Tones
109
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110
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Chapter V. Nondiatonic Materials
: 374 // > /> > > > > > > > > /> > > > > > > > > > > > > > > > =
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377
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J.S. Bach, Bourr´ee II from orchestral suite #2 375 anonymous, The Cruel Mother (England) Out of Work 377 Scott Joplin, The Easy Winners
376
V-1. Secondary Dominants and Chromatic Passing Tones
Alice Hawthorne,
111
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380
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112
379
anonymous, Erlaube Mir, Fein’s M¨ adchen
Chapter V. Nondiatonic Materials
380
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V-1. Secondary Dominants and Chromatic Passing Tones
113
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114
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Chapter V. Nondiatonic Materials
33 > * * > > > > * > > : > > > * * > > > > > > > > > > > > 3
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W.A. Mozart, Duet No. 2, Menuet, from 12 Duets, K.V. 487
V-1. Secondary Dominants and Chromatic Passing Tones
115
V-2 Blue Notes
386 3
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anonymous, The Graveyard (South Carolina) 387 anonymous, Roll, Jordan, Roll (United States) Cyclone at Ryecove (Missouri) 389 James Reese Europe, Goodnight Angeline
116
Chapter V. Nondiatonic Materials
388
anonymous,
/
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390 3333 >
Moderato
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390
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anonymous, ’Tis Me, O Lord (Unites States)
V-2. Blue Notes
117
V-3 Relative Minor and Major
391 33
Nicht zu langsam und mit inniger Teilnahme
= > >:
3 4
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392
//
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In ruhiger Bewegung 6 8
393 3333
Lullabye, andante con espressione 2 4
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394 // >
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395 3 >
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391
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anonymous, Schwesterlein 392 anonymous, Es Ritt ein Ritter 393 anonymous, Cradle Song (Sweden) Chorale, ‘Befiehl du deine Wege’ 395 J.S. Bach, Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’
118
Chapter V. Nondiatonic Materials
394
J.S. Bach,
3 > > > >
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=:
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Heimlich und zierlich bewegt
396
2 4
> >> > (
> > >> > > > > > > > > > : /> > *
397 > > > > > > : > > > > > > : > = > > > > > > > > = > :: > > > > > > > /
> / >> > > > > > > > 2> /> 2 /> >>> /> > ( 2> > > > > > > >> ( > > >>> /> >
398
= >> > : = >> = >> > : > + > = > /> > > > > > : > > > Andante e penseroso
3 4
>: > > > >: > > > = * = >> = >> > > > >: > >: > > > : > > > = *>
396
= > > > > : /> = /> > > >: > = > * = > : > = > > >: > >
anonymous, Feinsliebchen, Du Sollst Crouch, Kathleen Mavourneen
397
J.S. Bach, Chorale, ‘Gib Dich Zufrieden und Sei Stille’
V-3. Relative Minor and Major
398
F. Nicholls
119
> >: > > >: > > >: > = >> = >> > > > > >: > > >: > = > >: > > > > > > >: > > > > > : > : > > : > > =
120
Chapter V. Nondiatonic Materials
> > = > >:
Chapter VI
The C Clef This chapter recapitulates some melodies from earlier chapters, using the C clef. The clef indicates middle C. In modern music, the C clef is used almost exclusively for the viola, but it will also be encountered in older scores, both vocal and instrumental, as an equally important companion to the treble and bass clefs. The C clef is a movable clef, but the examples in this chapter are all given with C placed at the middle line. Sight-singing from the C clef is not difficult, because one merely follows the usual procedure of determining which line or space on the staff represents ‘do,’ and reading all other notes relative to it. A trick for instrumentalists is to imagine that the middle line is really the ledger line for middle C on the grand staff, while the top two lines belong to the treble clef, and the bottom two to the bass clef. (The same trick can be handy for vocalists when using the key signature to find the tonic on the staff.)
399 =
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400
3 4
401
3 4
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402
3 4
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403
6 8
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401
anonymous, The Ash Grove (Wales)
402
Franz Joseph Haydn, menuet Oxford symphony
403
folk song
> > > > > > * ( > > > > > > > > > >: > > > > > > > > >: > > > > > >: >
404
> > > > > > > > > > >: > > > > > > > > > > > > > Mit kraeftiger Leidenschaft
6 8
> > >> > > >> > > > > > > : > > > > > > > > > >: >
405
6 8
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406 /
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404
anonymous, Wach’ Auf, Mein Hort from The Planets
122
405
anonymous, La Paloma Blanca (Arizona)
Chapter VI. The C Clef
406
Gustav Holst, Venus theme
407 /
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411
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412 > : > > > : > > > > > > < > > > > > > > > > > > > > > > < > > > 413
Heimlich und zierlich bewegt 2 4
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407
folk song 408 Giovanni Battista Pergolesi, aria ‘Sancta Mater’ from Stabat Mater 409 W.A. Mozart, aria (Papageno) from ‘The Magic Flute’ 410 Franz Joseph Haydn, finale, London symphony 411 anonymous, Every Hour in the Day (Georgia) 412 anonymous, lullabye (Russia) 413 anonymous, Feinsliebchen, Du Sollst
123
> > ( > >
414 /
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3 4
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414
F. Nicholls Crouch, Kathleen Mavourneen
124
Chapter VI. The C Clef
Thematic Index ddddddtl — p. 22, no. 49 dddddrmf — p. 21, no. 46 dddddtdr — p. 23, no. 50 ddddmdss — p. 90, no. 310 ddddmfsl — p. 55, no. 173 ddddmsff — p. 37, no. 108 ddddffff — p. 40, no. 123 ddddslsd — p. 30, no. 76 ddddsltd — p. 22, no. 47; p. 22, no. 48 ddddtltd — p. 23, no. 51 ddddttss — p. 114, no. 384 dddrrrmd — p. 42, no. 130 dddrrmmf — p. 19, no. 29; p. 121, no. 400 dddmdsmm — p. 57, no. 185; p. 123, no. 411 dddmmssm — p. 87, no. 300 dddmssll — p. 71, no. 237 dddsmmrd — p. 61, no. 205 dddsllls — p. 69, no. 229 dddsltdt — p. 103, no. 350 ddrdmfss — p. 31, no. 81 ddrrmmrd — p. 30, no. 77 ddrmrdrr — p. 28, no. 69 ddrmrrmr — p. 97, no. 334 ddrmrmfm — p. 48, no. 156 ddrmmrdf — p. 73, no. 246 ddrmmmfs — p. 26, no. 57 ddrmmfsl — p. 88, no. 302 ddrmfsss — p. 38, no. 112 ddrmfssl — p. 71, no. 241 ddmrdrrm — p. 29, no. 72 ddmmrmdd — p. 27, no. 62 ddmmmdts — p. 38, no. 116 ddmsslls — p. 75, no. 258 ddmsltdt — p. 57, no. 183 ddsdrmfs — p. 85, no. 294 ddtdrdrm — p. 25, no. 55 ddtlsdrm — p. 37, no. 111; p. 71, no. 235 ddtltdrm — p. 99, no. 342 ddtltlls — p. 25, no. 52 drddtdrm — p. 20, no. 36 drdrdrmr — p. 53, no. 161 drdrmfss — p. 32, no. 83 drdtdsdr — p. 94, no. 324 drdtlsls — p. 19, no. 32 drmdddrm — p. 44, no. 141 drmdrmrm — p. 56, no. 179
125
drmrdtdr — p. 53, no. 167 drmrmfmf — p. 19, no. 28; p. 121, no. 399 drmrmfsf — p. 19, no. 31 drmrfmrt — p. 109, no. 370 drmrsdrs — p. 60, no. 197 drmmmrfm — p. 91, no. 312 drmmmmsm — p. 30, no. 74 drmmmsrr — p. 45, no. 143 drmmfmfs — p. 21, no. 45 drmmfsds — p. 58, no. 189 drmmflss — p. 71, no. 236 drmfrmdm — p. 61, no. 207 drmfmrdt — p. 53, no. 165 drmfmrmf — p. 20, no. 37 drmfmfsl — p. 21, no. 44 drmfsmfs — p. 47, no. 153 drmfsfmr — p. 54, no. 172 drmfsfsl — p. 101, no. 345 drmfssfm — p. 39, no. 120 drmfsssf — p. 20, no. 33 drmfslsf — p. 53, no. 162 drmfslss — p. 60, no. 201 drmfslsl — p. 54, no. 169; p. 54, no. 171 drmfsltd — p. 19, no. 27 drssmddf — p. 79, no. 272 dmddmssl — p. 57, no. 180 dmdmsffm — p. 28, no. 68 dmdsdmsd — p. 27, no. 59 dmdslfmf — p. 112, no. 380 dmdtdrmm — p. 58, no. 187 dmrdmfst — p. 63, no. 215 dmrdssms — p. 33, no. 87 dmrsdmrs — p. 60, no. 198; p. 123, no. 412 dmrtdmrt — p. 81, no. 276 dmmmrfff — p. 67, no. 222 dmmflssm — p. 76, no. 260 dmfssrss — p. 46, no. 151 dmsdmssm — p. 33, no. 84 dmsdlsdd — p. 70, no. 233 dmsdtdrm — p. 59, no. 190 dmsrdrmm — p. 47, no. 152 dmsmrflf — p. 101, no. 348 dmsmmddt — p. 62, no. 210 dmsmfrfr — p. 96, no. 330 dmsmslsf — p. 56, no. 177 dmsfslsf — p. 103, no. 352 dmssdtrr — p. 70, no. 234 dmssdtls — p. 28, no. 66
126
Chapter VI. The C Clef
dmsssmfs — p. 27, no. 60 dmssssfm — p. 102, no. 349 dmsslfsd — p. 69, no. 231 dmssltds — p. 95, no. 327 dmslsddr — p. 36, no. 100 dmslsmss — p. 37, no. 105 dsdrmfsf — p. 57, no. 181 dsdsdsdm — p. 35, no. 94 dsdtdsmr — p. 60, no. 196 dsmdrmrt — p. 116, no. 389 dsmdslsm — p. 56, no. 175 dsmdslst — p. 83, no. 285 dsmrdrmd — p. 57, no. 182 dsmrdrmf — p. 27, no. 63; p. 123, no. 408 dsmrdlsf — p. 83, no. 284 dsmrmfmr — p. 104, no. 355 dsmsmdrm — p. 40, no. 125 dsfmddsf — p. 59, no. 195 dssdddfl — p. 118, no. 393 dssdlllt — p. 77, no. 263 dssfrdtl — p. 86, no. 295; p. 90, no. 309 dssfsfmr — p. 78, no. 268 dsssslls — p. 48, no. 159 dsslsmrd — p. 59, no. 191 dsslsfmd — p. 35, no. 96 dssltddm — p. 38, no. 113 dslsfmrd — p. 82, no. 281 dsltdrms — p. 107, no. 364 dsltdmfs — p. 34, no. 93 dtddddrm — p. 56, no. 174 dtdrrdrm — p. 20, no. 34; p. 42, no. 132 dtdrmfsl — p. 53, no. 164 dtdrmsfm — p. 111, no. 374 dtdrmslt — p. 101, no. 347 dtfmdsls — p. 84, no. 289 dtlsfmrd — p. 54, no. 168 dtlsfmms — p. 71, no. 238 dtlslsfm — p. 72, no. 245; p. 95, no. 329 rddrmrdr — p. 53, no. 163 rmfsdmrd — p. 45, no. 144 rsdsdddd — p. 74, no. 252 mdrmfsfm — p. 47, no. 155 mdrmfsss — p. 97, no. 335 mdmrdtrs — p. 63, no. 214 mdmrsmrd — p. 59, no. 192 mdmfmrdl — p. 83, no. 283 mrdddttl — p. 28, no. 70 mrddrdrm — p. 93, no. 321
127
mrddrdtd — p. 36, no. 104; p. 123, no. 409 mrddmmsr — p. 61, no. 204 mrdrddms — p. 76, no. 259 mrdrmrdm — p. 93, no. 320 mrdrsmdr — p. 39, no. 118 mrdmrddl — p. 69, no. 232 mrdmssms — p. 34, no. 91 mrdsfmdt — p. 119, no. 398; p. 124, no. 414 mrdslsfm — p. 57, no. 186 mrdslslf — p. 94, no. 326 mrdslstr — p. 46, no. 149; p. 122, no. 405 mrdtdrmr — p. 21, no. 43 mrrdsmmr — p. 88, no. 303 mrmdmfss — p. 33, no. 86 mrmfmrds — p. 60, no. 200 mrmfmrsf — p. 43, no. 137 mrmfssmr — p. 27, no. 64 mrmsdrrl — p. 108, no. 367 mrfmlsmr — p. 92, no. 316 mmdrsmdm — p. 42, no. 135 mmrddrrm — p. 31, no. 78 mmrdtdrd — p. 38, no. 114 mmrmstls — p. 118, no. 395 mmmrdddd — p. 117, no. 390 mmmrdrmr — p. 94, no. 322 mmmfmmrr — p. 42, no. 131 mmfssfmr — p. 19, no. 30 mmslslsl — p. 111, no. 377 mfrdrmfs — p. 75, no. 257 mfrmdlsf — p. 84, no. 290 mfmrdmfs — p. 25, no. 54 mfmmrdtd — p. 53, no. 166 mfsmdttd — p. 67, no. 224 mfsmrtds — p. 39, no. 119; p. 121, no. 402 mfsmmrdl — p. 96, no. 332 mfsmfsmr — p. 73, no. 249 mfssfmrr — p. 25, no. 56 mfssfsls — p. 103, no. 351 mfsssfsl — p. 107, no. 363 mfsssssm — p. 39, no. 117 mfsssssl — p. 48, no. 157 mfssltdt — p. 110, no. 372 mfslsmrd — p. 94, no. 323 mfslsffs — p. 77, no. 265 msrsmdtd — p. 81, no. 278 msmdrmsm — p. 29, no. 73 msmrdsfm — p. 89, no. 305 msmfmrdm — p. 116, no. 386
128
Chapter VI. The C Clef
msmffflf — p. 76, no. 261 msmsslfl — p. 69, no. 228 msmlmsml — p. 92, no. 317 msfmslsm — p. 72, no. 244 msssffmm — p. 38, no. 115 mtrddrmr — p. 68, no. 226 ffdddtdr — p. 118, no. 392 fslsfmfs — p. 79, no. 271 sdddddrr — p. 47, no. 154; p. 121, no. 403 sddddrrr — p. 45, no. 145 sddddmrd — p. 116, no. 387 sddddtdr — p. 84, no. 292 sddddtss — p. 101, no. 346 sdddmddm — p. 31, no. 79 sdddslss — p. 41, no. 127 sdddlssd — p. 72, no. 243 sdddtdrs — p. 26, no. 58 sddrmfsl — p. 99, no. 341 sddrtddm — p. 91, no. 313 sddmdtls — p. 89, no. 304 sddmrdls — p. 98, no. 337 sddmmssm — p. 43, no. 136; p. 123, no. 407 sddtlslr — p. 100, no. 343 sddtlslf — p. 83, no. 286 sdrdsdrm — p. 59, no. 193 sdrmdmmr — p. 37, no. 106 sdrmdsrd — p. 69, no. 230 sdrmrdrm — p. 27, no. 65 sdrmmfmd — p. 28, no. 67; p. 87, no. 298 sdrmmffs — p. 61, no. 208 sdrmfrdt — p. 63, no. 217 sdrmfmfs — p. 48, no. 158 sdrmfsdr — p. 81, no. 277 sdrmsssl — p. 105, no. 357 sdrsdrmr — p. 67, no. 225 sdmdmdmr — p. 98, no. 339 sdmdtlsd — p. 104, no. 353 sdmrdrms — p. 35, no. 97 sdmrfmrd — p. 98, no. 338 sdmmmmrm — p. 75, no. 255 sdmmfmrr — p. 112, no. 379 sdmsdmsd — p. 118, no. 391 sdmsrmld — p. 94, no. 325 sdmsfmdd — p. 71, no. 239; p. 121, no. 401 sdmssdms — p. 44, no. 139; p. 122, no. 404 sdsdrmrr — p. 42, no. 134 sdtdrmfs — p. 67, no. 223 sdtdrlrd — p. 92, no. 315
129
sdtdlsdr — p. 77, no. 266; p. 97, no. 336 sdtlsfsr — p. 63, no. 216; p. 118, no. 394 sdtlssls — p. 41, no. 128 sdtlslsf — p. 110, no. 373 sdtltdtl — p. 93, no. 319 srmtdrrs — p. 68, no. 227 smdrssdd — p. 75, no. 254 smdsslsd — p. 40, no. 124 smdlssfs — p. 104, no. 356 smrdrmfr — p. 73, no. 248 smrdsmrd — p. 34, no. 92 smrdslff — p. 74, no. 253 smrdtlds — p. 34, no. 90; p. 90, no. 311 smrdttdl — p. 88, no. 301 smrrdmrs — p. 39, no. 122; p. 122, no. 406 smrmdsss — p. 81, no. 279 smrmrtdd — p. 62, no. 213 smrmfmrl — p. 104, no. 354 smmddtrm — p. 71, no. 240 smmrrddt — p. 99, no. 340 smmrrmmd — p. 65, no. 221 smmrsdtd — p. 114, no. 383 smmmrddd — p. 27, no. 61 smmmmrrr — p. 86, no. 297 smmmmfmr — p. 108, no. 368 smmfrrdr — p. 36, no. 102 smfrrrmf — p. 35, no. 95 smfsddtt — p. 29, no. 71 smfsdrmf — p. 113, no. 381 smfslsmd — p. 56, no. 178 smfslsfm — p. 119, no. 397 smsmrdmr — p. 33, no. 88; p. 34, no. 89 smsfmrsf — p. 64, no. 219 smslssmd — p. 33, no. 85; p. 43, no. 138 sfrfmdss — p. 44, no. 142; p. 123, no. 410 sfmdrldl — p. 95, no. 328 sfmrrdtl — p. 20, no. 39 sfmmrdrd — p. 100, no. 344 sfmmrrmf — p. 96, no. 331 sfmmmmfm — p. 73, no. 247 sfmmsdsm — p. 46, no. 148 sfmfmmfs — p. 21, no. 41 sfmfsdrd — p. 25, no. 53 sfmfsldt — p. 78, no. 269 sfmfsltd — p. 77, no. 264 sfmsmrrd — p. 113, no. 382 sfmsmsmf — p. 112, no. 378 sfmsfmrd — p. 31, no. 80; p. 87, no. 299; p. 109, no. 369
130
Chapter VI. The C Clef
sfslsfss — p. 61, no. 203 sflsftrd — p. 108, no. 366 ssdddtdr — p. 60, no. 202; p. 82, no. 280 ssdddttd — p. 77, no. 262 ssddrmrd — p. 44, no. 140 ssddmrtd — p. 72, no. 242 ssddssmm — p. 107, no. 365 ssddsldr — p. 78, no. 270 ssddtddr — p. 119, no. 396; p. 123, no. 413 ssdrdtdr — p. 37, no. 110 ssdrmmmm — p. 109, no. 371 ssdmrdrm — p. 84, no. 291 ssdmrdtl — p. 82, no. 282 ssdmmfsm — p. 80, no. 275 ssdmsfmf — p. 35, no. 99 ssdsmmsm — p. 36, no. 103 ssdssmmr — p. 46, no. 147 ssdtdrdt — p. 111, no. 376 ssdtrddt — p. 89, no. 307 ssdtfmsm — p. 46, no. 150 ssmdddrm — p. 62, no. 211 ssmddtll — p. 39, no. 121 ssmdsfrm — p. 59, no. 194 ssmrddtd — p. 86, no. 296 ssmrdrdd — p. 105, no. 358 ssmrdssf — p. 74, no. 251 ssmrdtdr — p. 62, no. 212 ssmmmddd — p. 41, no. 129 ssmmmddt — p. 106, no. 360 ssmmssrr — p. 41, no. 126 ssfmmrdr — p. 74, no. 250 sssddmms — p. 89, no. 308 sssdmsss — p. 60, no. 199 sssmrmdr — p. 42, no. 133 sssmfsls — p. 78, no. 267 sssffmmm — p. 37, no. 107 ssssdsss — p. 37, no. 109; p. 83, no. 287 ssssssss — p. 30, no. 75; p. 106, no. 359 sssslsmm — p. 116, no. 388 sssslssd — p. 61, no. 206 ssslsssf — p. 54, no. 170 sslddsfm — p. 75, no. 256 sslsmsss — p. 106, no. 361 sslsfmrd — p. 56, no. 176 sslsfmrl — p. 97, no. 333 sslsfmmf — p. 63, no. 218 sslsffmm — p. 62, no. 209 ssltddtl — p. 20, no. 38
131
ssltdtdr — p. 32, no. 82 ssltdtdt — p. 20, no. 35 ssltdttt — p. 57, no. 184 sstrddrd — p. 45, no. 146 slsmdsls — p. 36, no. 101 slsmrddt — p. 84, no. 288 slsffmmr — p. 21, no. 42 slssddrm — p. 35, no. 98 slslsdtd — p. 64, no. 220 slslsssd — p. 89, no. 306 sltdrmrm — p. 21, no. 40 sltdmmrd — p. 107, no. 362 strsfmfs — p. 85, no. 293 stlsmfsd — p. 111, no. 375 lmrdsdrm — p. 80, no. 274 lmsltddt — p. 93, no. 318 lsslssls — p. 58, no. 188 tdmddrfr — p. 49, no. 160
132
Chapter VI. The C Clef
Index ’Tis Me, O Lord, 117 ¨ Annchen von Tharau, 35 Absent Davie, 34 Abt, Franz Kathleen Aroon, 94 Ach, Englische Schaeferin, 99 adagio poco cantabile from string quartet, Op. 73, #3, Franz Joseph Haydn, 109 Adelphi School Song, 114 Adieu, Bonne Hˆotesse, 81 After the Ball, Charles K. Harris, 92 Ah Mon Beau Chˆateau, 35 Ah, Suzette, Ch`ere, 46 Ainsi Font, Font, Font, 36 Allan Maclean, 107 allegro from Eine kleine Nachtmusik, W.A. Mozart, 35 Alouette (rhythm only), , 15 Am Feierabend, Franz Schubert, 62 Amarilli, Mia Bella, Giulio Carcini, 68 America the Beautiful, Katharine Lee Bates, 41 andante un poco allegretto from string quartet # 5, W.A. Mozart, 101 Angel de Mis Amores, 62 Angel of Peace, M. Keller, 105 Angels Ever Bright and Fair, G.F. Handel, 100 Annie Laurie, 28 Arlequin Marie Sa Fille, 69 Arlequin Tient Sa Boutique, 42 As-Tu Vu la Casquette?, 33 Ash Grove, The, 71, 121 Au Jardin de Mon P`ere, 71 Aura Lee, George Poulton, 92 Autrefois le Rat de Ville, 104 Aux Marches du Palais, 42 Avril, 78 Away in a Manger (rhythm only), , 15 Bach, J.S. Bourr´ee II from orchestral suite #2, 111 Chorale, ‘Befiehl du deine Wege’, 118 Chorale, ‘Das Walt’ Mein Gott, Vater, Sohn’, 118
Chorale, ‘Es ist gewisslich an der Zeit’, 28 Chorale, ‘Es spricht der Unweisen Mund wohl’, 37 Chorale, ‘Es steh’n vor Gottes Throne’, 58 Chorale, ‘Gib Dich Zufrieden und Sei Stille’, 119 Chorale, ‘Herr, nun lass in Friede’, 57 Chorale, ‘Herr, wie du willst, so schick’s mit mir’, 20, 42 Chorale, ‘Jesu, meiner Seelen Wonne’, 25 Chorale, ‘Liebster Jesu, wir sind hier’, 39 Chorale, ‘Mach’s mit mir, Gott, nach deiner Gut’, 39 Chorale, ‘Nun ruhen alle Walder’, 47 Chorale, ‘Nun sich der Tag geendet hat’, 61 Chorale, ‘O Haupt voll Blut und Wunden,’ from St. Matthew’s Passion, 63 Chorale, ‘O Traurigkeit, o Herzeleid’, 62 Chorale, ‘Seelenbr¨autigam, Jesu, Gottes Lamm’, 25 Chorale, ‘Valet will ich dir geben’, 38 Chorale, ‘Von Gott will ich nicht lassen’, 63 Chorale, ‘W¨ar’ Gott Nicht Mit Uns Diese Zeit’, 99 Chorale, ‘Wenn wir in h¨ochsten N¨oten sein’, 48 Chorale, ‘Wie bist du Seele in mir so gar betr¨ ubt’, 38 Gavotte II from cello suite # 5, 61 gavotte in G minor, 54 Invention 2, 101 melody from the notebook for Anna Magdalena, 60 Menuet I from orchestral suite #1, 112 menuet II from cello suite # 2, 97 minuet, 42 trio from Brandenburg concerto # 1, 84 Ballade de Roland, 42 Barbara Allan, 44 Bates, Katharine Lee America the Beautiful, 41 Bayly, T.H. Long, Long Ago, 88 Beautiful Angel, The, Pierre Latour, 20
Beautiful Bells, George Cooper, 108 Beautiful Isle of Somewhere, J.S. Fearis, 74 Beckoning the Chickens, Froebel, 33 Beckoning the Pigeons, Froebel, 32 Beethoven Ode to Joy, 19 opening movement from string quartet # 1, 94 opening theme of Symphony #3, 27 string quartet # 6, allegro, 100 Beggar Girl, The, 31 Beuttner, Nikolaus Es kam ein treuer Bote, 38 Bingo (rhythm only), , 13 Blue Juniata, The, M.D. Sullivan, 75 Bonnie Wee Window, 74 Bonniest Lass in a’ The Land, The, 70 Bourr´ee II from orchestral suite #2, J.S. Bach, 111 Bradbury, W.B. He Leadeth Me, 74 Braes O Yarrow, The, 77 Brahms, Johannes introduction, 1st symphony, 77, 97 Nachtwache 1, 63 Broadway Sights, W.H. Latham, 27 Brother, Guide Me Home, 37 Brother, Tell Me of the Battle, George F. Root, 108 Butterfield, J.A. When You and I Were Young, 105 Calinda, 76 Cangia, Cangia Tue Voglie, G.B. Fasolo, 71 Carcini, Giulio Amarilli, Mia Bella, 68 Carmela, 28, 87 Caro Mio Ben, Attributed to Guiseppe Giordiano,, 95 carol, 20 Caroline, 78 Chant de Sion, Darius Milhaud, 98 Chill Ether, 47 chorus from Judas Maccabaeus, G.F. Handel, 113 Come, Ye Disconsolate, Samuel Webbe, 104 Conkey, Ithamar God is Love, His Mercy Brightens, 104
134
Index
Cooper, George Beautiful Bells, 108 Cowboy’s Home Sweet Home, 76 Cradle Song, 88, 118 Crep´ usculo, 109 Crouch, F. Nicholls Kathleen Mavourneen, 119, 124 Crowell, B. a, 3/4, 53 A, 4/4, 34 a, 4/4, 53, 101 a, 6/8, 53 A[, 4/4, 21 B[, 3/4, 1, 34 B[, 4/4, 20 B[, 4/4, 1, 49 C, 3/4, 19, 21, 46, 121 c, 3/4, 56 C, 4/4, 19, 25, 121 c, 4/4, 56 C, 4/4, 1, 21 D[, 4/4, 21 E[, 3/4, 20 F, 2/4, 32 F, 3/4, 25 f, 4/4, 57 G, 3/4, 19, 25, 40 G, 4/4, 22, 26, 45 g, 4/4, 83 G, 6/8, 21 g, 9/8, 59 G[, 4/4, 21 Who Got Dirt on the Carpet Again?, 56, 103 Cruel Mother, The, 111 Cutler, H.S. Son of God Goes Forth to War, The, 29 Cyclone at Ryecove, 116 Da Unten Im Tale, 71 Danksagung an den Bach, Franz Schubert, 67 Dans la Forˆet Lointaine, 31 Dans le Port, Il Est Arriv´e, 107 Dans Notre Jardin, 45 Das Wandern, Franz Schubert, 46 Dearest Spot on Earth, The, W.T. Wrighton, 34 Derri`ere Chez Moi, 82
Devotion, Richard Strauss, 72 Diadem, J. Ellor, 81 Die Sonne Scheint Nicht Mehr, 80 Down in the Valley, 37 Duet from The Magic Flute, W.A. Mozart, 114 Duet No. 2, Menuet, from 12 Duets, K.V. 487, W.A. Mozart, 35, 115 Duke of Argyle’s Courtship, The, 48 Easy Winners, The, Scott Joplin, 111 Edwards, Gus In My Merry Oldsmobile, 112 Eli Yale, 41 Ellor, J. Diadem, 81 Emerson, L.O. Whither Through the Meadow?, 21 En Avant, Gr´enadiers, 62 En Revenant d’Auvergne, 30 Entendez-Vous Sur l’Ormeau, 30 Entre Vous Tous Gens de la Ville, 85 Erlaube Mir, Fein’s M¨adchen, 112 Es kam ein treuer Bote, Nikolaus Beuttner, 38 Es Ritt ein Ritter, 118 Europe, James Reese Goodnight Angeline, 116 Every Hour in the Day, 57, 123 Faded Coat of Blue, The, J.H. McNaughton, 108 Fairy Boat, The, Harold Samuel, 48 Fasolo, G.B. Cangia, Cangia Tue Voglie, 71 Fearis, J.S. Beautiful Isle of Somewhere, 74 Feinsliebchen, Du Sollst, 119, 123 finale, London symphony, Franz Joseph Haydn, 44, 123 Forget na’, dear Lassie, 57 Foster, S.C. Gentle Annie, 93 Foster, Stephen Hard Times Come Again No More, 30 Old Folks at Home, 69 Slumber My Darling, 93 Song of All Songs, The, 82 Froebel Beckoning the Chickens, 33 Beckoning the Pigeons, 32
Pat-a-Cake, 28 Wolf, The, 60 Gar Lieblich Hat Sich Gesellet, 48 Gardez Piti Milatte-l`a, 38 Gaudeamus Igitur, 77 Gavotte II from cello suite # 5, J.S. Bach, 61 gavotte in G minor, J.S. Bach, 54 Gentle Annie, S.C. Foster, 93 Gi`a il Sole dal Gange, Alessandro Scarlatti, 67 Giordiano,, Attributed to Guiseppe Caro Mio Ben, 95 Gladden, S.W. Mountains, The, 82 Go ’Way, Old Man, 41 Go Down, Moses, 65 God is Love, His Mercy Brightens, Ithamar Conkey, 104 God Speed the Right, 36 Gold Band, The, 73 Goldfaden, Abraham Raisins with Almonds, 102 Goodnight Angeline, James Reese Europe, 116 Graveyard, The, 116 Grieg e, 4/4, 67 Gunhilde, 99 Guten Abend, 60 Gwine Follow, 87 Gypsy Warning, The, 45 Hallowed Spot, The, 78 Halt, Franz Schubert, 39 Handel, G.F. Angels Ever Bright and Fair, 100 chorus from Judas Maccabaeus, 113 Hush ye pretty warbling quire from Acis and Galatea, 72 O Jordan, Sacred Tide from Esther, 64 Hanukah O Hanukah, 83 Hard Times Come Again No More, Stephen Foster, 30 Harris, Charles K. After the Ball, 92 Hawthorne, Alice Home, By and By, 31 Out of Work, 111 Haydn, Franz Joseph
Index
135
adagio poco cantabile from string quartet, Op. 73, #3, 109 finale, London symphony, 44, 123 introduction, London symphony, 75 menuet Oxford symphony, 39, 121 He Leadeth Me, W.B. Bradbury, 74 Here We Go Round the Mulberry Bush (rhythm only), , 16 Hess, C. Little Charley Went a Fishing, 86 Holst, Gustav Venus theme from The Planets, 39, 122 Home On the Range (rhythm only), , 15 Home, By and By, Alice Hawthorne, 31 Husband, John Revive Us Again, 36 Hush Little Baby (rhythm only), , 14 Hush ye pretty warbling quire from Acis and Galatea, G.F. Handel, 72 Hush, My Babe, J.J. Rousseau, 31 I Ride an Old Paint, 72 I Want To Be Ready, 71 I’m a Pilgrim, 44 I’m In Trouble, 75 I’ve Been Working on the Railroad (rhythm only), , 15 If with all your hearts ye truly seek me from Elijah, Felix Mendelssohn, 88 If Ye Love Me, Thomas Tallis, 73 If Your Foot Is Pretty, Show It, 40 In My Merry Oldsmobile, Gus Edwards, 112 introduction, 1st symphony, Johannes Brahms, 77, 97 introduction, London symphony, Franz Joseph Haydn, 75 Invention 2, J.S. Bach, 101 Jehovah, Hallelujah, 69 Jenny Lind Mania, The, W.H.C. West, 71 Jimmy Crack Corn (rhythm only), , 14 Jingle Bells (rhythm only), , 14 Joplin, Scott Easy Winners, The, 111 The Entertainer (rhythm only), 16 Juanita, 96 Jungfr¨aulein, Soll Ich Mit Euch Gehn, 45 Kathleen Aroon, Franz Abt, 94
136
Index
Kathleen Mavourneen, F. Nicholls Crouch, 119, 124 Keller, M. Angel of Peace, 105 Kevin Barry, 103 Krambambuli, 41 la Claire Fontaine, A, 27 Lang Johnny More, 70 Latham, W.H. Broadway Sights, 27 Latour, Pierre Beautiful Angel, The, 20 Lawlan’ Jenny, 29 Let God’s Saints Come In, 106 Lewis, L.R. a, 3/4, 53 a, 4/4, 53, 55 B, 3/4, 20 B[, 4/4, 20, 23 C, 4/4, 22 C, 6/8, 23 d, 3/2, 54 d, 3/4, 54 d, 4/4, 54 Lightly Row, 36 Lilly Dale, H.S. Thompson, 96 Little Brown Jug (rhythm only), , 13 Little Charley Went a Fishing, C. Hess, 86 Lolotte, 61 Long, Long Ago, T.H. Bayly, 88 Love’s Young Dream, Thomas Moore, 95 lullabye, 60, 123 Luther, Martin Mighty Fortress Is Our God, A, 103 We Come Unto Our Father’s God, 29 M’ha Preso Alla Sua Ragna, Pier Domenico Paradies, 79 march from The Nutcracker (rhythm only), P.I. Tchaikovsky, 16 McNaughton, J.H. Faded Coat of Blue, The, 108 Media Noche, 110 melody from the notebook for Anna Magdalena, J.S. Bach, 60 Mendelssohn, Felix If with all your hearts ye truly seek me from Elijah, 88
Menuet I from orchestral suite #1, J.S. Bach, 112 menuet II from cello suite # 2, J.S. Bach, 97 menuet Oxford symphony, Franz Joseph Haydn, 39, 121 Mi Sue˜ no, 63 Mighty Fortress Is Our God, A, Martin Luther, 103 Milhaud, Darius Chant de Sion, 98 minuet, J.S. Bach, 42 Moore, Thomas Love’s Young Dream, 95 Mountains, The, S.W. Gladden, 82 Mozart, W.A. allegro from Eine kleine Nachtmusik, 35 andante un poco allegretto from string quartet # 5, 101 aria (Papageno) from ‘The Magic Flute’, 36, 123 aria from the Magic Flute, 106 Duet from The Magic Flute, 114 Duet No. 2, Menuet, from 12 Duets, K.V. 487, 35, 115 opening from clarinet quintet, 73 Osanna (bass solo, allegro) from Sanctus, Requiem, 84 string quartet # 1, adagio, 37 string quartet # 1, menuet, 87, 109 string quartet # 1, trio, 94 string quartet # 10, menuet, 78 string quartet # 15, menuet, 61 string quartet # 2, andante, 77 string quartet # 4, opening, 91 string quartet # 4, presto, 81 string quartet # 6, rondo, 81 string quartet # 7, presto, 90 string quartet # 8, menuet, 86, 90 theme from symphony in G minor, 58 Musieu Bainjo, 37 My Father, How Long?, 28 My Field, 59 My Lodging Is On the Cold Ground, 76 Nachtwache 1, Johannes Brahms, 63 Not Yet, Richard Strauss, 46 O Come, All Ye Faithful (rhythm only), , 13 O Daniel, 101
O Jordan, Sacred Tide from Esther, G.F. Handel, 64 O Little Town of Bethlehem (rhythm only), , 14 Ode to Joy, Beethoven, 19 Ojos Mexicanos, Los, 61 Old Folks at Home, Stephen Foster, 69 Old Hundred, 71 opening from clarinet quintet, W.A. Mozart, 73 opening movement from string quartet # 1, Beethoven, 94 opening theme of Symphony #3, Beethoven, 27 Ophelia’s Song, Maude Valerie White, 61 Orange and the Black, The, Frances Shackleton, 113 Osanna (bass solo, allegro) from Sanctus, Requiem, W.A. Mozart, 84 Our Baby, 42 Out of Work, Alice Hawthorne, 111 Paloma Blanca, La, 46, 122 Paradies, Pier Domenico M’ha Preso Alla Sua Ragna, 79 Pat-a-Cake, Froebel, 28 Pergolesi, Giovanni Battista aria from Stabat Mater, 97 Sancta Mater from Stabat Mater, 27, 123 tune from Stabat Mater, 74, 110 Poor Rosy, 33, 34 Pop Goes the Weasel (rhythm only), , 16 Poulton, George Aura Lee, 92 Praise, Member, 33, 43 processional march song, 98 Que No Te Amo, 84 Quinze Ans, A, 89 R´emon, 96 Ragion Sempre Addita, Alessandro Stradella, 107 Rain, Rain, Go Away (rhythm only), , 13 Raisins with Almonds, Abraham Goldfaden, 102 Rana, La, 91 Recouvrance, A, 27 Red River Valley, 75 Reir Es Necesario, 62, 89 Revive Us Again, John Husband, 36 Rimsky-Korsakov, Nikolai
Index
137
Scheherezade, 94 Rockabye Baby (rhythm only), , 15 Roll, Jordan, Roll, 116 Root, George F. Brother, Tell Me of the Battle, 108 Rosa Lee, 75 Rousseau, J.J. Hush, My Babe, 31 Row, Burnie, Row, H. Burgess Weston, 30 Row, Row, Row Your Boat (rhythm only), , 16 Sagt Mir, O Sch¨onste Sch¨af’rin Mein, 98 Samuel, Harold Fairy Boat, The, 48 Sancta Mater from Stabat Mater, Giovanni Battista Pergolesi, 27, 123 Scarlatti, Alessandro Gi`a il Sole dal Gange, 67 Su, Venite a Consiglio, 27 Sch¨onster Schatz, Mein Engel, 37 Scheherezade, Nikolai Rimsky-Korsakov, 94 Schubert, Franz Am Feierabend, 62 Danksagung an den Bach, 67 Das Wandern, 46 Halt, 39 Wohin?, 39 Schwesterlein, 118 Serenata, 37, 40 Shackleton, Frances Orange and the Black, The, 113 Ship That Never Returned, The, 79 Shoals Valedictory, 104 Shout On, Children, 38 Sing Hey to You, Good-Day to You, A.S. Sullivan, 93 Sinner Won’t Die No More, 73 Slumber My Darling, Stephen Foster, 93 Softly Now the Light of Day, C.M. von Weber, 92 Son of God Goes Forth to War, The, H.S. Cutler, 29 Song of All Songs, The, Stephen Foster, 82 Song of the Free, J.G. Whittier, 72 Speed Away Speed Away, I.B. Woodbury, 106 Stradella, Alessandro Ragion Sempre Addita, 107
138
Index
Strauss, Richard Devotion, 72 Not Yet, 46 string quartet # 1, adagio, W.A. Mozart, 37 string quartet # 1, menuet, W.A. Mozart, 87, 109 string quartet # 1, trio, W.A. Mozart, 94 string quartet # 10, menuet, W.A. Mozart, 78 string quartet # 15, menuet, W.A. Mozart, 61 string quartet # 2, andante, W.A. Mozart, 77 string quartet # 4, opening, W.A. Mozart, 91 string quartet # 4, presto, W.A. Mozart, 81 string quartet # 6, allegro, Beethoven, 100 string quartet # 6, rondo, W.A. Mozart, 81 string quartet # 7, presto, W.A. Mozart, 90 string quartet # 8, menuet, W.A. Mozart, 86, 90 Su, Venite a Consiglio, Alessandro Scarlatti, 27 Sullivan, A.S. E[, 6/8, 27 Sing Hey to You, Good-Day to You, 93 Take a Pair of Sparkling Eyes, 93 Sullivan, M.D. Blue Juniata, The, 75 Take a Pair of Sparkling Eyes, A.S. Sullivan, 93 Take Me Out to the Ball Game (rhythm only), , 14 Tallis, Thomas If Ye Love Me, 73 Tchaikovsky, P.I. march from The Nutcracker (rhythm only), 16 trepak from The Nutcracker (rhythm only), 15 waltz of the flowers from The Nutcracker (rhythm only), 15 The Entertainer (rhythm only), Scott Joplin, 16 The Itsy-Bitsy Spider (rhythm only), , 16 theme from symphony in G minor, W.A. Mozart, 58 This Old Man (rhythm only), , 14 Thompson, H.S. Lilly Dale, 96 Thou Poor Bird, 58 trepak from The Nutcracker (rhythm only), P.I. Tchaikovsky, 15
trio from Brandenburg concerto # 1, J.S. Bach, 84 Tristes Horas, Las, 60 Tu Eres Mas Bella, 43 Twinkle Twinkle, Little Star (rhythm only), , 13 Ubi Bene, Ibi Patria, 80 Upidee, 90 Valedictory, Shoals, 104 Venus theme from The Planets, Gustav Holst, 39, 122 Vivo Llorando la Suerte, 84 Vivo Penando, 107
Song of the Free, 72 Who Got Dirt on the Carpet Again?, B. Crowell, 56, 103 Widdecombe Fair, 89 Wild Moor, The, 77 Wohin?, Franz Schubert, 39 Wolf, The, Froebel, 60 Woodbury, I.B. Speed Away Speed Away, 106 Wrighton, W.T. Dearest Spot on Earth, The, 34 Ya Viene El Alba, 67
Wach’ Auf, Mein Hort, 44, 122 Walk, Shepherdess, Walk, 89 waltz of the flowers from The Nutcracker (rhythm only), P.I. Tchaikovsky, 15 We Come Unto Our Father’s God, Martin Luther, 29 We Three Kings (rhythm only), , 14 We Wish You a Merry Christmas (rhythm only), , 14 Webbe, Samuel Come, Ye Disconsolate, 104 Weber, C.M. von Softly Now the Light of Day, 92 Wedge, G.A. c, 2/4, 83 c, 3/4, 56, 60 f, 2/4, 57, 83 f, 3/4, 83 g, 2/4, 59 g, 3/4, 59, 60, 64 g, 4/8, 63 Were You Ever in Rio Grand, 94 West, W.H.C. Jenny Lind Mania, The, 71 Weston, H. Burgess Row, Burnie, Row, 30 When You and I Were Young, J.A. Butterfield, 105 White, Maude Valerie Ophelia’s Song, 61 Whither Through the Meadow?, L.O. Emerson, 21 Whittier, J.G.
Index
139
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